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The Times of Day
GaEy Tinterow
THE MUSEUM
METROPOLITAN OF ART
THEMETROPOLITAN
MUSEUMOFARTBULLETIN-Winter
lggo/g
VolumeXLVIII,Number3 (ISSN0026-I52I)
In 1953,whenNoon:Landscapewith a RomanTombandEvening:Landscapewith an
Aqueductwereexhibitedforthefirsttime,scholarshailedthereappearance
ofthese
twopicturesas themostimportantdiscoveryin Gericaultstudiesduringthiscentury.
LorenzEitner thena youngspecialiston Gericault,nowa greatauthority-
immediately publisheda longarticleon thetwoextraordinary landscapes,then
thoughtto be theonlyexamplesof theirkindbythisartist.In 1959,however,
Morning:Landscapewith Fishermenappearedin a Parissalesroom,havingbeenout
ofviewforexactlyonehundredyears.Sincethen,a numberof intriguingfactshave
surfacedanda greatmanyspeculations havebeenmadeaboutthesethreepictures,
includingtheprovocative suggestionjustlastyearthata previouslyunknownfourth
picture,representing
Night,hasbeenin a SouthAmericancollectionsince1949.
TocelebratetheMuseum'sacquisitionin 1989ofEvening:Landscapewith an
Aqueduct,we areunitingpublicly,forthefirsttime,thethreeknownpanelsof the
series,theTimesof Day,in an exhibitionrunningfromNovember6, lC}90, through
January13,1991.GaryTinterow, EngelhardAssociate CuratorofEuropean Paint-
ings,hasspentthelastyearin thepursuitof information whetherit be in provincial
archivesorin thememoriesof privatecollectors thatmightshedlighton these
gloriousbutenigrnaticpictures.He revealsthefruitsof hisresearchin thisBulletin,
whichsetsforththehistoryof theselandscapes,aswellas thatof Gericault's briefand
tempestuouscareer.
Philippede Montebello
Director
"Trembling, I commencedthisstudy,"CharlesClementconfessedatthebeginningof
his excellentbiographyandcatalogueraisonneof Gericault's life andwork
(publishedin serialformin the 1860S andthenrepublished, withcorrections, in
1879). Equipped witha remarkable memory,fastidiousnotes,andthe reminiscences
of a numberof artists,stillliving,whoknewGericaultintimately,Clementwas
eminentlysuitedto histask.If he trembled,writingonlyfiftyyearsafterGericault's
death,novicessuchas myself,writingone hundredyearslater,canonlyquake.No
nineteenth-century artistof Gericault'sstatureremainsas enigmatic;no oeuvre,
despiteits smallsize,so rifewithproblemsof attribution; no chronology, despiteits
too-brief span, so inadequately documented. We stilldo not know when
precisely
Gericaultpaintedhis remarkable seriesof portraitsof the insane,of
whichfilveoutof ten arelost,nordowe knowwithcertaintywhyhe paintedhis
studiesof severedlimbsandheads,perhapsthe mostextraordinary paintingsof the
nineteenthcentury.Despitea yearof intensiveresearchanda numberof promising
leads,we stilldo notknowwhyorforwhomGericaultpaintedthethreeenormous
landscapesthatarethe subjectof thisstudy,norwhetherhe actuallycompletedthis
series,theTimesof Day,witha fourthpanelthatlogicallywouldbe Nzght.But,
thanksto the unsparingparticipation of the individualsnamedbelow,we arenow
muchcloserto a glimpseof the elusivetruth.Althougha definitiveanswerto the
questionof the identityof the originalpatronorthe natureof the commission(ifthere
wasone)wasnotforthcoming(andperhapsneverwillbe),at leastwe no longerneed
be blindedbythepreviouslyheldassumptions regardingthe historyof thesepaintings
forin thelastfewmonthsalmosteverynotionhasbeenprovedfalse.
Firstthanksgo to theTrusteesof the Museum,the director,Philippede
Montebello,andEverettFahy,JohnPope-HennessyChairmanof the Departmentof
EuropeanPaintings,fortheirsupportof the acquisitionof the magnificentlandscape
thatthisexhibitionandpublicationcelebrate.Theexhibitionwouldnothavebeen
possiblewithoutthegenerousparticipation of HubertusvonSonnenburg andChristoph
Heilmann,directorandcuratorof the NeuePinakothek,Munich,andTherese
BurolletandAlainDaguerrede Hureaux,directorandcuratorof the Museedu Petit
Palais,Paris.Withoutthe supportof MahrukhTarapor,assistantdirectorof the
Metropolitan Museum,quitesimplytherewouldbe no exhibition.Sincerethanksare
extendedto the curatorsandcollectorswhogenerouslysharedworksin theircare.
DianeUprightandStefanieMaisonarethankedfortheirhelpin securingloans.
A greatnumberof individualslistenedpatientlywhileI endlesslyrehearsed
the mysteriessurrounding the historyof Gericault's heroiclandscapes,andeach
contributed something bywayof observation, insight,orinformation to the
outcomepresentedon thesepages.Amongthe mostpatientwereJeanSutherland
Boggs,PhilipConisbee,PeterGalassi,MichaelPantazzi,JosephRishel,andJeremy
Strick.In France,SylvainBellenger,HenriLoyrette,RegisMichel,andAnne
Rocquebert couldnothavebeenmorehelpful.Atthe Metropolitan, DavidKiehland
JamesParkerexpertlyanswered innumerable questions. At Sotheby's, Etienne
Breton,BenjaminDollar,NancyHarrison,andScottSchaeferall assistedwillingly.
AyWhangHsiaof Wildenstein& Co.,Inc.,liberallysharedhercopiousfilles.
WheelockWhitney,a longtimestudentof Gericault,wasexceptionally generouswith
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Chronology
Introduction
Figure 1
TheChargingChasseur
Oil on canvas,1375/8x 1047/#in.
I__ (349 x 266 cm)
, Paris,Musee du Louvre,
_ _ __ Inv.488s
_ . Cuirassier
The Wourtded
__ _ _ Oiloncanvas,141xllS5/4in.
9
-
10
Figure 7
Dufouret Leroy
Landscapesof Telemachus: Mentor
ThrowsTelemachusintothe Sea, 1825
Printedwallpaper
Plate 21 fromLeschefs-d'oeurre
du papierpeint:Tableauz-Tentures
de Dufour& Leroy.Paris:Librairiedes ArtsDecoratifs
1 1
followedEdmundBurke:"Whatever is in anysortterrible. . .oroperatesin a manner Figures8-11
analogousto terror,is a sourceof the sublime."TwoyearsafterBurke'sPhilosophical NicolasPoussin
EnquiryintotheOriginof OurIdeasof theSublimeandBeautifulappearedin French, (French,1594-166S)
The Four Seasons, 1660-64
Diderotwrotein his reviewof theVernetsshownatthe 1767Salon,"allthatstunsthe Each panel:oiI on canvas,46l/2x
soul,allthatimprintsa feelingof terror,leadsto the sublime"(Salons,III, p. 165,). 63 in. (118x 160cm)
Vernet'sspectacular lateShipwreck (fig.12), withits convincingrepresentation of the Springor TheEarthlyParadise
threatof a watetydeath,is a goodexampleof the kindof paintingthattransported SummerorRuthand Boaz
Autumnor TheSpieswith Grapes
Diderotto a sublimeexperience. from thePromisedLand
To stunthe soul,to stirthe mindwasthe highestambitionanyartistcould Winteror TheDel7lge
have,andbythe endof the eighteenthcentutymostartistsandtheoristsagreedthat Paris,Musee du Louvre,
landscapepainterscouldachievethisgoal,butonlyunderthe properconditions. Invs.7303, 73°4, 73°Sv7306
PierreHenriValenciennes(175,0-1819), the principalFrenchlandscapistattheturn
ofthenineteenthcentury,summarized currentthinkingonlandscapein his 1799-1800
ElementsofPerspective andReJ7ectionsandAdvicetoa Student.He followedde Piles's
categorizationofpaysagechampetre andpaysageheroique(whichhe calledhistorique
to makean analogyto histozypainting),notingthat"theElrst is paintedwiththe
feelingof color,the secondwiththe colorof feeling"(quotedin McMordie1976,p.
65,).However,Valenciennes wasconcernedthattheincreasingpopularity of naturalist
landscapepaintingwouldunderminethe grandmannerhe hopedto instillin future
generationsof Frenchpainters.He thereforeofferedthe followingadvice:"Nicolas
Poussin,AnnibaleCarracci,Domenichino,andothershavedonewhatHomer,Virgil,
Theocritusandall thefamouspoetswouldhavedoneif theyhadpaintedwithcolors.
Theymeditatedon [thepoets]and,in closingtheireyes,theysawthatidealNature,
12
Figure 12
ClaudeJosephVernet
(French,1714-1789)
Shipwreck,1787
Oil on canvas,45 x 595/8in.
(151.4x 114.3cm) thatNatureadornedwithwealthof imagination,whichonlygeniuscanconceiveand
Hartford,The Wadsworth represent"(p.377).In otherwords,one shouldnotpermitvisionsof unidealized
Atheneum,The Ella Gallup to contem-
Sumnerand MaxyCatlinSumner
nature,orreality,to sullythe canvas.This,however,wasin contradiction
Collection porarypractice.Atthe endof the eighteenthcentury,moreandmorepainterstrekked
intonatureandbroughtbackvibrantsketchesthattheythenusedas modelsfor
elementsof theiridealviews.AlthoughValenciennes, forexample,neverexhibitedhis
exquisiteoil sketches,a realistapproachto landscapecanbe detectedin themanner
in whichhe treatedindividualmotifs.
FranbcoisBeno1thasdemonstrated thatwhileheroiclandscapewasheldin
higheresteembytheoristsatthebeginningof the nineteenthcentury,naturalistor
realistlandscapewasmorepopularlypracticedandadmiredatthistime.Between
1791and1814,one quarterof thepaintingsexhibitedatthe Salonswerelandscapes.
Before1806,composed,or"ideal,"landscapesconstitutedhalfof the landscapes
shown,andtopographical views,or"portrait" landscapes,the otherhalf.Afterward,
thebalancetippedagainsttheideal.Bythefallof the Empire,heroiclandscapes
comprisedon averageonlyone outof onehundredsubmissionsto the Salon.In an
attemptto countermand thistrend,thegovernment pressedthefineartsacademyto
createa Prixde Romeforlandscapepainters so thattheirstudies,likethoseof
historypainters,couldbe inspiredbythemonumentsandcountryside of Italy.The
Figure 13
PierreHenriValenciennes
(French,1750-1819)
TheAncientCityofAgrigento, 1787
Oil on canvas,43l/, x 645/8in.
(llOX 164Cm)
Paris,Musee du Louvre,
M.N.R. 48
13
Studyfor
Graphite and Decorative
wash on paper, Panel i ;FX
- s
ir v
w e I
.,
';?,
with
Landscape
DetailofEvening:
anAqueduct(no.1l)
14
(German, 1768-1839) l ;si,¢ a _t
Figure16 | I |
JosephAntonKoch . .
TheSchmadrzbach
Waterfall, _ ' _
0i1oncanvas,5 17/8 X 43i8 in
Munich,NeuePinakothek,
Bayerische
Staatsgemalde-
sammlungen _ _ _
a_
Flgure17 _ ,
WashingtonAllston 5 _
(Amencan, l7zg-1843) 83 )'\
Elijah
intheDesert,
1818 _ _
Oiloncanvas,483/4x 72l/2in. i F oli
(123.8x 184.2cm)
Boston,Museumof FineArts, | x
Giftof Mrs.SamuelHooperand ,l l- 3
MissAliceHooper, , S
Acc.no. 70.1
whileAllston'salludedto theimaginaryworldsof Fuseli,Blake,andEnglishpoets,
butbothpainters'worksareimbuedwiththe samestrongessenceof Italy notthe
ItalythatClaudesawbathedin light,butratherthe Italyof Michelangelo's monu-
mentalSistineChapelandof the blastedtreesandfantastic mountains depictedin the
Dughets,Rosas,andPoussinsin theRomanpicturegalleries.Beforethe discoveryof
aninvoiceforthe canvasesthatestablishedthe dateof theTimesof Dayas autumnto
winter1818,scholarsdebatedwhetherGericaultpaintedthembeforeorafterhis trip
to Italyin 1816-17.True,thepicturesdonotconveyGericault's actualexperienceof
theItaliancountryside-one scholarevensuggestedthatthe artistcouldnothave
oncehe hadseenthem butit is unlikelythathe
paintedthe sitesso inaccurately
wouldhaveconceivedworksin thegenreof heroiclandscapewithouthavingbeento
Rome.Onehasonlyto compareGericault's firststudiesforlandscapepanels(fig.14),
probablyexecutedbeforehe leftforItaly,to thethreeknowncanvasesof theTimesof
Day(nos.5, 10,11),paintedafterhe returned,to see a cleardifferencein approach.
Thisearlywatercolor, althoughsomewhatcontrived,showsan attracti-ve bucolic
landscapethat,withits agreeabledistributionof lightsanddarks,wouldmakea
15
handsomedecoration.No ideais conveyed;he givesinsteada pleasantprospect.The Figures 18-21
Timesof Day,to the contrary, althoughsuperficially decorative,areat oncefarmore LouisJacquesCathelin
ambitiousandunsettlingin theirmood.Theobserver,likethe figuresin the land- (French,1739-1804)
scapes,is overwhelmed. afterClaudeJosephVernet
One'srelationship to natureis calledintoquestion,andthe (French,1714-1789)
mindracesas Gericault's visionis checkedagainstpersonalexperience. The Times of Day
The enormoussizeof the Timesof Day,approximately eightbysevenand Eachplate:etchingandengraving,
one-halffeet,is one of the mostsignificantfeaturesof the pictures.Wecannotknow 175/8x 223/8in. (44.7 x 56.9 cm)
whetherthe dimensionsweredeterminedbythe specifications of a commission Morning
Noon
or whethertheyarea statementbyGericaulton the importance he attachedto them. Evening
Theirsizeis surpassedin his oeuvrebyjustthreeof the fourpaintings(onenowlost) Night
thathe exhibitedpubliclyduringhis brieflife,thevastRaft, The ChargingChasseur, The MetropolitanMuseumof Art,
andThe WoundedCuirassier the lasttwobeingonlyslightlylargerthantheTimesof HarrisBrisbaneDick Fund, 1953,
Day.Thesepaintingswereall criticizedforbeingtoo largeandfornotconformingto 53 600-1674,1673, 1672, 1671
the conventional hierarchyof genreandrelativesize.C. P.Landon,a Frenchcritic,
touchedon the problemin his reviewof TheRaftatthe 1819Salon:"Wemayfeel
surprisedthatthe artist.. .shouldhaveusedthisimmenseframeandthesecolossal
dimensions.Suchgrandioseproportions arenormallyreservedforcelebratingevents
of a moregeneralinterest,suchas a nationalfestival,a greatvictory,the coronationof
a sovereign"(p.66). Delacroix,however,realizedthatsupernormal scalewasan
integralpartof Gericault'sstrategy.Recallingin 1853his reactionwhenhe stood
beforeRubens'simmenseRatsingof the Crossin Antwerp,he wrote:"Ithinkit is
appropriate forme to takenotehereof the quiteanalogouswayI havefeltbefore
Gros'sbattlepictures,andbeforetheMedusa,especiallywhenI sawit halffinished.
Theessentialthingabouttheseworksis theirreachingof the Sublime,whichcomes
in partfromthe sizeof the figures.... Proportion countsforverymuchin the greater
orlesserpowerof a picture.Notonly.. .wouldthesepictures,executedin smallsize,
be ordinary.. .but,weretheymerelylife size,theywouldnotattainthe effectof the
Sublime"(p.335).TheE1gures in the Timesof Dayaresmall,unlikethosein The
Raft,buttheirinsignificant scalein comparison to the hugelandscapesshowsthe
sameprinciplesin operation."TheSublime,"Delacroixnotedin his journal,"ismost
oftendue,curiouslyenough,to disproportion" (p.554).TheNeoclassicallandscape
specialistsof the 1810Srarelyembarkedon suchlargelandscapes,withorwithout
figures.Theirinterestlayin approaching beauty,notthe sublime,andbigcomposi-
tionscarriedrisksthattheywereunwillingto take.However,gigantismmayhave
beenin the airduringthe SecondRestoration. ComteForbin(1777-1841),who
arrangedforthe Louvreto purchaseTheRaft of theMedusain 1824,exhibitedatthe
1817Salonan eight-by-ten-foot canvasof Vesuviuserupting.Andthatsameyear
Michallonreceiveda commissionto painta hugelandscapeforthe 1819Salon,The
Death of Roland (Paris,Museedu Louvre),which,at oversixbyninefeet,is also
largerthanGericault's panels.
Nevertheless,largelandscapesweremuchmorefrequentin the eighteenth
century,whenJosephVernetandHubertRobertspecializedin decorativelandscape
ensembles.TheTimesof Daywereoftenthe subjectsof theseseries.Sincethe
Renaissance,artistshaddemonstrated theirmasteryof a varietyof effectsbypainting
the fourseasons,the months,orthetimesof day,butJosephVernetmadea specialty
16
of the latter.Hisgreatestseriesof canvases,the Timesof Dayon landandsea,were
paintedforthebilliardroomof the Marquisde Labordein 1766-67, andhis
best-knownworkswerea ubiquitousset of engravingsafterpaintingsof theTimesof
Daythathe hadmadein 1764-65forthe libraryof the Ducde Choiseul(figs.18-21).
Valenciennes, whoseideasoftenreflectedthoseof Vernet,wrotethatpaintersdivided
the dayintofourperiodsbecause"onefinds. . .moredecidedcontrasts,morepro-
nouncedoppositions,andmoredistincteffectsattheinstantdeterminedforeach
division.... Thefreshnessof themorningwouldbe bettersensednextto theburning
horizonof evening,andonewouldbetterappreciate the calmof nightandthe soft
silverlightof themoonin placingit in oppositionto theheavyatmosphereand
obliterating raysof the sunatnoon"(p.427).Readingeighteenth-centuny descrip-
tionsof setsof theTimesof Day,oneimmediatelyrecognizesthatin his pictures
Gericaultcloselyconformedto theseconventions. Althoughscholarshavedebated
the subjectsof Gericault'slargelandscapes,it cannowbe confidentlystatedthatthe
motifof fishermensettingoutandthe cool,graylightidentifythe Munichpictureas
Morning;thethunderstorm andharshblueskyestablishthe Parispictureas Noon;
andthe leisurelyswimmersand"burninghorizon"indicatethe NewYorkpictureto
be Evening.
17
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19
seventeenth-century buildingatVillers-Cotterets,
northeastof Paris camefroma
familyof wealthylandownersandwoodmerchantswhoprofitedfromtheRevolution
bybuyingup the landsof fleeingnobles.However,Marsaux'snamedoesnotappear
amongGericault's papersorin his friends'reminiscences,andno worksbyGericault
appearin the posthumousinventoryof Marsaux'spossessionsdrawnup on July29,
1840. He didowna set of picturescalledTheFour Timesof Day, buttheywerethe
fourengravingsafterJosephVernet'spaintings(figs.18-21) andwerevaluedat six
francs.Marsauxownedonlyfewpictures,ofwhichnonewerebycontemporary French
artists,andthusit is unlikelythatGericaultexecutedthe largelandscapesforhim.
Thereferenceto the Chateaude Montmorency is equallyproblematic,for
therewereseveralchateausso-named.CharlesLe Brun,LouisXIV'S courtpainter,
builta housein 1670 at Montmorency, northof Paris,as his ownpleasurepavilion.
He enlargedit duringhis lifetime,butuponhis death,the chateauwasacquiredby
CrozattheYounger, whohadthe architectCartaudrestoreit to Le Brun'soriginal
design.The Cartaud/LeBrunbuilding,calledthe Chateaud'Enguyenin the eigh-
teenthcentury,becamethe residenceof the Ducde Luxembourg. Itwasdestroyedin
1878 andreplacedby an enormousFrenchRenaissance pilebuiltin 1881-82 (fig.24)
byCuvilliersfora newlyrichspeculatorin stocks,LeopoldSee. He wentbankruptin
the mid-l880s, andfromJuly24 to 29, 1886, the entirecontentsof the modern
Chateaude Montmorency "sumptuous furnishings,artobjects,tapestries,car-
riagesandplants" weresoldatthe house.ThetwoGericaultswerenotlistedin the
sale.Accordingto the townarchivist,the propertywaspurchasedin 1886 bythe Duc
andDuchessede Dino,whosoldit in lgol. Sincethepaintingswerenotauctionedin
1886, theycouldhavebeenbroughtto Montmorency bythe Ducde Dino.Itis
reasonableto assumethattheywereremovedlaterandconsignedto the 1903 auction.
However,the officialaccount(procesverbal)of the 1903 saleindicatesthatthe
Chateaude Montmorency,
built 1881-82 for LeopoldSee
j purchasedin 1886by the Duc
and Duchesse de Dino
20
Figures 25, 26 consignorof themajorityof thelots (althoughthe ownerof thetwoGericaultsis not
A view (left)of the outbuildingsof specifically
cited)wasRenePetit-Leroy, whoseaddresswasgivenas 32 avenue
the Chateaude Jeurre,
whichincludea towersimilarto
Montaignein Paris.MarieRenePetit-Leroy(b.1846) joinedthe Frenchministryof
the one Gericaultdepictedin foreignaffairsin 1867, servedin Tangiers,Rome,andBerlin,climbedtheladder
Noon:Landscapewitha Roman of bureaucratic success,andwasawardedthemedalof the Legionof Honor.He never
Tomb(no. lo, right) livedatthe Chateaude Montmorency, andif he wasthe consignerof thelarge
landscapes,howhe acquiredthemis a mystery.
A MonsieurLavilleboughtNoon andEveningatthe 1903 salefor1205
francs almostthe samepriceforthepairas thatpaidbyMonsieurDornanfor
Morningin 1859. Nothingis knownaboutLaville,whoboughtthreelotsatthe sale,
buthe mayhavebeenan employeeof the auctioneer,PaulChevallier. Accordingto
NatLeeb(d. lggo),a Parisianpainterandoccasionalartdealerwhoreputedlyowned
thelandscapesfrom1937 to 1949, Noon andEveningwerein thepossessionof the
Comtede Saint-LeonsoonafterLavillepurchasedthem.Arthur,ComteDufresnede
Saint-Leon(about1857-1947), wasan extraordinary, eccentriccollector,as interested
in architectural
fragmentsas he wasin orientalporcelainorFrenchpainting.His
primaryresidencewasthe Chateaude Jeurre,justoutsideParisat Etrechy,where
he andhis father,Henri,assembledandrestoredtheremainsof folliesthatHubert
RobertandothershaddesignedforgardensatMereville,nearJeurre.Arthurde
Saint-Leonalsoacquiredlargeelementsof thefabeades of importantParistown
housesandrebuiltJeurrein orderto accommodate them.He hauntedthe Hotel
Drouot,theParisauctionhouse,wherehe wasa frequent,impulsivepurchaser. His
grandsonLouisde Saint-Leonremembered thathis grandfatherwasa goodfriendof
JulesFeral,the expertwhoorganizedthe 1903 sale.ThusFeralcouldhavebrought
Noon andEveningto his attention.Andwellhe might,becauseGericault's assem-
blageof fabricatedRomanruinsreflectedthe samespiritthatguidedSaint-Leonat
Jeurre,whichevensporteda crenellatedtowerlikethatin Noon (figs.25, 26). Louis
de Saint-Leonhasindicatedthatthereis onlyone roomatJeurrebigenoughto
accommodate thetwolargelandscapes,the SalonRose,wherehe remembered that
his grandfatherhadinstalledlarge,darkpaintingsin the ceiling.He recalledatleast
twolargepaintings,possiblyflankinga third.At sixteenbyforty-eightfeet,the ceiling
21
wouldhavebeenlargeenoughto accommodate four.Admittedly,the ceilingwould
be a peculiarplaceforthe landscapes,butatJeurrea creative,eclecticspiritreigned.
Arthurde Saint-Leonhad,in thewordsof his grandson,"dramatic" needs
formoneyandwentbankruptduringthe 1930S.In 1937a marshalsoldoffportable
goodsin one of the outbuildingsatJeurre,andit wasthenthatNatLeebreputedly
boughtfourpanelsof Gericault's Timesof Day.JustbeforeEveningwasauctioned
in NewYorkin May1989,LeebinformedSotheby'sofficein Paristhathe had
purchasedthe fourlandscapesdirectlyfromSaint-Leonin 1937.Asthepictureswere
toolargeto be broughtintohis house,he keptthemin storageat a warehouserunby
AtlanticTransports on the avenueduMaine.Atthetimeof theirpurchase,he
reputedlymadedrawingsof the fourcompositions(figs.29-32), photography being
difficultto arrange.Leeb'sdrawingof Ntghtis thefirstdocumentto appearthat
indicatesGericaultpaintedfourpanels.
LeebtoldSotheby'sthatthefamilyof the Comtede Saint-Leonhad
acquiredtwoof the panels(presumably MorningandNtght)fromthe Duchessede
Montebelloin themid-nineteenthcentury,andthatthe othertwo,Noon andEvening,
hadbeenpurchasedbeforethe FirstWorldWar.Accordingto Leeb,Arthurde
Saint-Leongavehima letterwrittenbythe Duchessede Montebelloto a Saint-Leon
familymember.Leebsaidthathe subsequently gavethe letterto PierreDubaut,a
knowledgeable Frenchcollector,dealer,andconnoisseurof Gericault's work,who
meantto publishit. Itwasneverpublishedandcannotbe foundamongDubaut's
papers,butLeebfurnishedSotheby'switha typedtranscription.
2I JulyI850
My dearcousin,
SaturdayI will deliverto you theframefor TheArtillery
Train.Theother
Gericaultsdo not haveframes.My husbandhad thefour landscapespainted to
the dimensionsof the walls of the drawingroom.Theywerebuilt into the
paneling.
Verycordiallyyours,
L. de Montebello
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Landscapes
Plate 6 fromHouseholdFurniture
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London:Longrnan,Hurst,Rees,
and Orme,180?
Hope'sdesign for a roomshows : . , e- .> _ , ' D= - .' , s. ' :
how sets of landscapescouldbe . .
t.
}
decor.
;
,
dh l-t:;l.
t
.
..
i \ t ^ -- 2 2st4 .
.
,_
. . _
2 \'(s*S
-
f- t
W-doj( ts \
\ _ ,
! ;, !, ; w+t_ ..
t
.S
"
S-,
s^ !
i'' - \ S
,
MXt - - < -
- cE.,<FaUS". + ¢ ' *1 /
fi1'1t ! .1 ! *
ss
.
N - .;t!,(
s
'}
25
- -
TheFourthLandscape?
{/ov#tt t S bw-*
s - # lo
26
32
a- WFo
-
i ( \ \ --4 --s
J - t o 8 -
+ f 7 S '0 i 's F s b l S
-
t--
b
s-
X -
Figure33 Figure34
Louis Simon Lempereur Sheetof Studzes(recto)
(French,1728-1807) Ink on paper,71/8x gll/l6in.
afterPierreJosephMettais (18x 24.7 cm)
(French,1728-1759) Stockholm,Nationalmuseum,
ThePasha'sPromenade,1766 NMH 285/1968
28
Figure36 to otherworksin oroutof Gericault'soeuvrecanonlybe speculative.
Attributedto Gericault(?) Fearingpersecutionduringthe Occupation, LeebquitParisandwentinto
ShiptreckedMan (.)) hidingin LyonsandMarseilles.Whenhe returnedto the capitalafterthewar,Leeb
Oil on canvas,25s/2 x 317/8in.
(64.8x81.lem)
saidthathe foundone of thefourpanelsof theTimesof Day,Night, e xtensivelydam-
Alencon,Musee de Peinture, agedbya leakin thewarehousein whichit waskept.Restoration involveda virtually
Inv.87 completerepainting.Becauseso littleof the originalpictureremained,he couldnot
selltheworkalongwiththethreein goodcondition.LeebstatedthatLadislasBein,a
Parisianpicturedealer,boughtNzghtandsoldit to an individualin RiodeJaneiro,
whereasanotherdealer,AlexandreUjlaky,purchasedthethreeothers.
it is impossibleto confirmLeeb'saccountandcertaindetails
Unfortunately,
aresuspect.His drawingsof thethreeknownpaintingswereprobablytracedfrom
photographs orreproductions andarethusmoreaccomplished thanthe awkward
renditionof Nzght,forwhichthereis no photograph yet Leebmain-tained thatall
Figure37
ClaudeJosephVernet
(French,1714-1789)
Pauland Virginie,1789
Oil on canvas,34t/4 x 51 t/8in.
(87 X 130 cm)
Leningrad,StateHermitage
Museum,
Inv.1759
One of the best-knowneighteenth-
centun depictionsof a shipwreck,
the paintingshowsthe drowned
Virginiemournedby her lover,
Paul, as describedin the epony-
mous novel.
29
*Parents
,;t,b,\
6 --X lt(
< ---
8 3u. Mouming
t the
+ Inf< particular
_ _September
t mourningthesenselessdeathof
^ R le
over to
1820
L.a timeless
Gericault
TheirDead
Winthrop, gran-
left
_ - :, Figure38
_ - _ - =4t
4wt- i''' Ink,watercolor,and graphiteon
_ 7 _ paper,6l/2x 47/8in.
kd!tv
{ w;T7>' -, --- theirson,raisingthescenefrom
_ - deurwith his classicalstyle.
3o
TheodoreChasseriau
Sh ip wrecked -> - 1Ff'
9 : |' +<e-
= **s- ' '8 v_
s ---
31
:wS
32
Figure41 fWlshermen'sbarkandthetreesof therectoresemblethosein Morning[no.5] andthere
PortScene(Night) is a thunderstorm as in Noon[no.lo], bothdrawingsaremoreconventional
Gouacheandwatercoloron paper,
and
42/sxs7/sin. (10.5X14.gem) dependentuponVernet'slandscapesthanthe compositions of thefWlnal
paintings.See
Bayonne,Musee Bonnat, introduction, fWlgs.
18-21.)
Inv.713V Onethingseemslikely:if GericaulthadpaintedNtght,he probablywould
havefollowedthe eighteenth-century conventionsof landscapein cornpletingthe
serieswiththe depictionof a shipwreckordrowning.DiderotconsideredVernet's
shipwrecks crucialto his sequencesof landscapes,lendingresolutionandmoral
authorityin additionto drama.Thethemewasso wellestablished,as Lochheadhas
shown(1982,p. 85),thatwhen,in 1781,thepainterde Loutherbourg builtin London
hisEidophusikon, a precursor to the diorama,theprogramalwaysincludeda storm
andshipwreckas the conclusionto theTimesof Day.The sightof the aftermathof a
shipwreck inspireda fearof nature'sunfathomable power,the horrifWlc
blacklining
to nature'ssilveryclouds.Disastersceneswerethewell-markedpathto the sublime,
thatreservoirof deepfeelingbeyondtherealmof the superfWlcially beautiful.Soon
afterthethreecanvasesof theTimesof Dayweredeliveredto his studio,Gericault
becameconsumedwithworkon a greateressayon the sublime,The/taftof the
Medusa so muchso perhapsthathe neverundertookthepaintingo-fthe fourthTime
of Day.Althoughin the absenceof the fourthpictureourexperienceof the seriesin
thepresentexhibitionwillnecessarilybe incomplete,we canturnforresolutionto
Gericault'sTheDeluge(no.13),hiswatercolorof TheRaftof theMedusa(no.14),and
hisDrownedWomanandChildon a Beach(no.15,)to contemplate thebeautiful,
andtrulysublime,specterof deaththathauntstheselandscapes.
33
1.
STUDIES
FORDECORATIVE
PANELS
1816?
Graphiteand wash (recto);graphite
(verso);on paper;65Ax9 /, 6 in. (17.2 X 2 3 cm)
The ArtInstituteof Chicago,Gift of
Tiffanyand MargaretBlake, 1947.35
folio 43
34
includesan importantclue to the date of this
project:a sketchat the upperleft representing,
accordingtoGermainBazin,OenoneRefusing
to Save theDyingParis.This obscureincident
was the subjectgiven for the third,and final,
roundof the Prix de Rome competitionin
March18 16. AlthoughGericaultwas elimi-
natedbeforethe final round,he made a
numberof drawingsdepictingthe subject,as
if he were still competingat the Ecole des
Beaux-Arts.His drawingsof the dyingParis
count among the few workssecurelydatable
to the firsthalf of 18 16, that is, beforethe
artist'sdepartureforItaly.Gericault'sdrawings
of decorativelandscapesin fig. Xb were made
e i <- overthe sketchof Paris, and thus cannotdate
beforeMarch 1816.LorenzEitnerdatedthe
sketchbookand relateddrawingsto about
;_ X, S -r x
1814,but ChristopherSells, withoutreferring
to the landscapedrawings,has recentlysug-
.
v
35
/ J J
Figure 1C
SeatedNude(verso)
Chalk,ink, and wash on paper.
85Z,6
x 75/.6in. (20.8 x 18.3cm)
London,The BritishMuseum,
1920.2.16.2
36
4 < '24 \. -
STUDIES
FOR WITH
ACOMPOSITION A
BOATING
PARTYANDFORVARIOUS
MILITARY
SUBJECTS
1816or 1817-18
Graphite(recto);brownink, wash, and
graphite(verso);on paper;6?/8x gl/l6in.
(174 x 23 cm)
The ArtInstituteof Chicago,Gift of
Tiffanyand MargaretBlake, 1947.35
folio 48
Verso
Recto <a':T
\ 6
w
; bA
: h
's-
# t', s
'
On the versoof this sheet the artistmade panions.The two wash landscapesketches
what seem to be the firstsketchesfor a on folio 48 versomay be the artist'sideas for
compositionwith a musicalboatingparty. the sylvansettingwhereinhe would place the
Looselybased on a paintingin the Louvre boatingparty.
attributedin Gericault'sdayto Annibale In 1954,when Eitnerpublishedthe
Carracci(fig. 2a), the drawingshowswomen firstscholarlyarticleon the landscapesnow
serenadedby a lutenistin Renaissancecos- in Parisand New York,he recognizedthat
tume. Their gondolais propelledby a pole- the germof the Parispicture,Noon:Landscape
wieldingboatman,whose energeticpose witha RomanTomb(no. 10),may reside in
characteristicallypreoccupiedthe artist.Over these sketchesof the boatingparty.In a
a dozenalternativesforthis figurewere drawn fascinatingtwist,Gericaultkept the boat in
on two sheets now in the Musee Bonnat, Noonbut canceledthe party.The festivemood
Bayonne(inv.nos. 2085, 2086); some of of the troubadourcostumepiece becomes
those sketchesmay also relateto a similar forebodingin the painting,and the serenaded
figurein a watercolor,Bark in a Stormy woman is accompaniedby a child as well as a
Landscape,also in the Musee Bonnat(see man, who seeks pressinglyto boardthe boat
p. 32). The same boatingpartyas that seen as if to be ferriedacrossthe river.A sense of
here is more clearlydrawnon the versoof urgencyreplacesthe timeless idyll of the
folio 49 of the Chicagoalbum (fig. 2b),where drawing.
one woman is accompaniedby two com-
37
What has not been sufficiently
stressedin the pastis the familialresemblance
of the paintingformerlyattributedto Annibale
Carracci itself harkingback to the Venetian
traditionexemplifiedby Giorgione'sFete
champetre(Paris,Musee du Louvre) to
Gericault'sset of large landscapes.Noon, in
particular,displaysa similarRomanbridge
leading to a castellatedtower,and the river
and distantmountainsare disposedin an and the cavalrybattleto 18 17- 18. However, Figure 2a
analogousmanner,albeit reversed.In his it seems likelythat Gericaultworkedon his GiovanniBattistaViola
(Italian,1576-1662)
largc)landscapesGericaultobviouslywished first,unrealizedprojectof decorativeland- ontheWater
Concert
to recallthe traditionof the composedland- scapes in spring1816(see no. 1).If this Oil on canvas,15i, x 20l/2in.
scape in the grand mannerto which Annibale suppositionis correct,then the sketchesfor (40 x 52 cm)
had made such a significantcontributionand the boatingpartyon the versomay date to Pans, Musee du Louvre,
which his brotherAgostinohad popularized thatyear;otherwise,they would have been Inv.208
throughengravings.But Gericault,appro- made upon Gericault'sreturnfromItaly.
priatingpast artwithoutapology,made his
worksmodernwith a dramaticshift in mood
and scale.
The recto of this sheet presentsa - A
S-J'Z'stQ A
projects,forwhich there are many sketches 1
ct''t
6' -
%\ \^ .
'
38
3
VIEWOFTIVOLI
1816-17
Watercolor,brownink, and graphiteon
paper,8lM6X l63/sin.(22.4X41.5 cm);signed
and inscnbedlowerleft: Gericaultpinx./
Tivoli
Geneva,GalerieJan Krugier
39
"'Nature'as [Gericault]understoodit was he positionedhimselfatthebelvedereonthe
embodiedin the human or animal form, not viadelleCascatelle,theroadthatwindsout
in mountainsor trees" (1983, p. 142). of thecityawayfromRome,in orderto ob-
In this regard,Gericaultresponded tainthebestviewof boththe GrandCascades
to Italymuch as the Neoclassicalpainters andthe Cascatelli;butin a characteristic
David and Ingreshad. They,too, ignoredthe departure, Gericaultmadethe spectacular
landscapefor the most partbut nevertheless waterfalls,barelyvisiblein thedarkchasmat
left a few informalyet remarkablepaintings left,almostincidentalto thepicture.Refus-
and drawingsof views they had experienced. ingto highlightorsubordinate particular
Gericault,likewise,made onlya smallnumber elements,he insteaddelineatedthe entire
of watercolorsand drawingsof Italiansites, scenebeforehimwitha meticulousness that
but they tend to be carefullyworkedand borderson obsession.Moststrikingis his
formal.The greatestof them is this view of renunciation of naturalism: thereis no at-
Tivoli, the hilltop town northeastof Rome temptto suggestatmosphere, thetimeof day,
whose cascadeshad been a favoredmotif of ortheparticularityofhis experienceatthat
painterssince antiquity.As an English artist moment.Gericault's imageis so timelessthat
wrotehis patronin 1758, "Thisancient city onewouldnotbe surprised to learnthatit
of Tivoli . . . has been the only school where hadbeencopiedfroman engraving suchas
our two most celebratedlandscapepainters, oneof GaspardDughet'snumerousviewsof
Claude and Poussin, studied"(quotedin Tivoli.Evenoutin nature,Gericaultsifted
Vaughan,p. 43). To make this watercolor, his observationsthroughthefilterof pastart
which he proudlysigned Gericaultpinx., in orderto achievea grandmanner.
4o
4*
VIEWOFMONTMARTRE
1816-20?
Watercolor,gouache, and graphiteon
paper,73/8x l 03/8in. (l 8.7 x 26.4cm);verso:
LapithandAmazon
Geneva,GalerieJan Krugier
.,t.'r; jF*,.s
..*
''
41
--- z
Figure4a
- Viewof Montmartre(detail)
- = Graphite,wash, and gouacheon
- ss
s S
-
qbl
l
81IJ
ls0#t
42
-
MORNING: WITH
LANDSCAPE
FISHERMEN
1818
Oil on canvas,985/8x 8534in.
(250.5 x 217.8cm)
Munich,Neue Pinakothek,Bayerische
Staatsgemaldesammlungen
43
In the cool, gray,diffuselightof earlymorning, He describedit in his catalogueas "in the
five fishermenlaunch theirboat. A largevilla mannerof Dughet" and mentionedit in
and a portionof an aqueduct,guardedby a the contextof Gericault'smarines such as
fancifulbaldmountain,hold the middleplane, no. 15 which he thoughtwere laterthan
while the snowcappedrange, the sourceof this landscape,to which he assigned a date ol
the wide river,closes the distantview.An "perhaps"1812-14. Because Clementwrote
outsizeumbrellapineand palmtree,indicators that the fishermenoccupythe second plane
of the tropicalItalianclime, dominatethe of the composition(insteadof the foreground),
foregroundand establishthe gargantuanscale some modernscholarshave suggestedthat
of the series of the Times of Day. he had not actuallyseen the painting.How-
DuringJuly and August 1818,at ever,he most certainlydid see it at the 1859
intervalsof two to three weeks, Gericault's sale of AryScheffer'scollection,for which
colormerchantand supplierdeliveredthree he was listed in the catalogueas an "expert"
canvasesof identicalsize, approximatelyeight consultantto the auctioneer.Clement re-
by seven and one-half feet. On these canvases countedthat a pendantto the paintinghad
the artistpaintedthis picture,now in Munich been visible in Gericault'sstudio,presumably
(no. 5), and those in Paris (no. lo) and New the large space in the faubourgdu Roule,
York(no. 11). It would appearthat the present while he was paintingTheRaftof theMedusa.
picture,Morning,was the firstto be painted. No doubtClement had been given this infor-
That six relateddrawingssurvive,more than mationby someone who had actuallybeen
for either of the othertwo panels, suggests there,such as Gericault'sstudentA. A. Mont-
that the workwas thoroughlyprepared.The fort.Curiously,Clement did not commenton
paintingitself conformsclosely to the pre- the aestheticmeritof the painting,nor did he
paratorydrawingsand was carefullyexecuted remarkon its great size, which he accurately
with comparativelyfew pentimenti.Noon and recordedto within a few centimeters.[Ie did
Evening,to the contraxy,seem to have been not speculateon the existence of the third
paintedmore spontaneously,with numerous panel, not to mention a fourth,and, to our
revisionsand some improvisations.Yetfor all greatdisappointment,he did not leave a
of the preparation,Morningis, in one respect, single clue regardingthe circumstancesthat
the most originalof the worksin the suite: led Gericaultto make the set.
although,like the others,it immediatelyan- This paintingwas the last of the
nouncesits affinityto the decorativelandscape series to be rediscoveredin this century.It
traditionof Dughet and JosephVernet,it reappearedat a Parisauctionin 1959,while
does not include any specificquotationsfrom Noon and Evening(nos. l o, 11) were publicly
picturesby otherartists.There are of course exhibitedin 1953.Thus when the seminal
similarfancifulmountainsto be found in articlesannouncingthe discoveryof the other
landscapesfromPoussin to Vernet,but such two were published,the existence of Morning
a motif was common currency.In his 18l7 was unknown.On the otherhand, it was the
manual on landscapepainting,Lecarpentier only one of the series to appearin public
warnedthat "thereare few objectsin nature in the nineteenthcentury,on the occasionof
that have been so often disfiguredin painting the 1859 auctionof the Scheffercollection.
as rockymountains,"and he exhortedartists It was probablyvisiblefor only two or three
"to imitatetheirbizarreformsjust as nature daysbeforedisappearinginto privatehouses
presentsthem, withoutdeformingthem or for exactly100years. In a reviewof the sale,
embroideringuponthem"(1817,pp. 115- 116). PhilippeBurtyleft the sole opinionrecorded
In its partsMorningis wholly Gericault's in the nineteenthcentury:"The fishermen
invention,althoughin its sum it is the most arepaintedwell enough [ontune assezgrande
conventionalworkin the series;the artist tournure],but the sky is cold, the shadows
took greaterrisksand libertiesin the others. black, and the ensemble is badlycomposed."
This paintingis the only one of the
set of large landscapesthat Clement knew.
44
_(no.
>
c_s_
-_<
^t and
Figure
<+ _being
of
out
: he
5):
- v this
modified
sketches,
remained
zh, there
pulled
the watercolor.
whilebasic
are
the
'to
reducing
now
true
RFthe
no
profile
lost,
1 to
*f right.
Its
trees
composition.
it7a
1670 the
slightly
inself-assured
ofwhich
Nevertheless,
in
overall
V theEhe
inthe
fantastic
size.
foreground,
artist
appearance
execution,
Nevertheless,
allworked
rock,
the
6e
LANDSCAPE
STUDYFORMORNING:
WITHFISHERMEN
1818
Watercolor,brownink, graphite,and
blackchalkonwhitelaidpaper,9X/8X8X/8
in.
(23.2 X 20.7 cm)
Cambridge,Massachusetts,The Fogg
ArtMuseum,HarvardUniversilOr, Bequest
of Meta and Paul J. Sachs
ThisstudyforMorning:Landscapewith
Fishermen,oneof Gericault's mostbeautiful
landscape watercolors,is allthemoreimpres-
siveforrepresenting animaginary scene.
UnlikeViewof Tivoli(no.3),whichis a
kindof miniaturelinearsurveyof thearchi-
tectureof thehilltoptown,thisworkis
majesticallycomposed of largeplanesreceding
in a convincingprogression to thefarther-
mostrangeof mountainsonthehorizon.
> Workingwithgreateconomy,Gericault
b neededonlytwocolorsofwash-blue and
- brown-to renderthelandscapeandsuffuse
= it witha unifyinglight.
Thissheetrepresents anearlystage
of thecomposition fortheMunichpicture
_ andtheboat,whichhasa mastandsail,is
_ i a featuresof thepainting-savethepineand
| palm arepresentherein embryonic form.
=_ Inpaintingthelargecanvas,Gericaulten-
largedthecypresses elements
andarchitectural
; ^ withno revisionswhatsoever, an
iS probably
- - ir y-> .- indicationthatit wasprecededbyearlier
. ., =
= ._,1_ W v _l i
45
in
later
his
sheets
figures
Bayonne
stay
ofof pushing,
the
instudies
Italy,
(fig.
two shown
for
pulling,
7b). the
The here,
Itfivewould
Race andrestraining
since
of fishermen
the the
appear
group
Riderlessin that_<ffi,,, ,^
t < 7rVa
7 8.
STUDIES
OFFISHERMEN STUDIES
OFFISHERMEN
1818 1818
Browninkonpaper,131/.6
x 77/8 in. Browninkonpaper,51i.6 X 77/8 in.
(33-2 X 20 cm) (14.8
X20 cm)
Privatecollection Privatecollection
Apartfromhorses,littlefascinatedGericault
morethanthehumanfigurestrainingagainst >_
a load.Thetwomostambitiousprojectsof _ JE
'
46
- - f D - - _peated
p properly
be onethe
ofidentified
the
composition
very first
as abut
study
sketches
gave
forthe
for
the mountain
Evening
large
9-
LANDSCAPE
FORMORNING:
STUDIES
ANDEVENING:
FISHERMEN
WITH
ANAQUEDUCT
WITH
LANDSCAPE
1818
BrowninkandgraphiteonpaperS
71/8X51/8 X13cm)
in. (18
Museedes Beaux-Artsde Dijon,Donation
GranvilleDG 242
r _ * Althoughexhibitedandwidelyreproduced
in
sincethefirstgreatGericaultretrospective
'
= 1924,thisdrawing,likethewatercolorin the
t - Fogg(no.6),hadtowaitforthereappearance
q ofMoming(no.5,)in 195,9beforeit couldbe
e t e
i AttheupperleftGericaulttested
landscape.
. :-. sS;4
-- t wk t
theadditionoftheforeground treesto the
-
*
-f f- f ew
thenewprofilethatappearsin thepainting.
F Apartfromthepositionoftheboat,whichis
stillcloseto thecenteroftheforeground, the
paintingconformsin everyimportant respect
C; tothisdrawing.
\ Thesketchattheupperrighthas
sj 4 alwaysbeenconsidereda variantofthesame
\41 composition, quitedifferent.
butit is obviously
\3 Withits centralmountainandbroadriver,
' >> flowingfromthedistanceattheleft,it must
p = (no.1l). Hadthebillforthedeliveryofthree
l r ofthelargecanvasesto theartist'sstudioin
jab Y, 1818notbeendiscovered, thissheetalone
4F^ffi/LS wouldbesufficientproofthatGericault simul-
taneouslyconceivedthelargecanvases or,
< - attheveryleast,twoofthem,Momingand
Evening answering a questionthathasbeen
debatedbyscholarsforoverthirtyyears.
Figure 7b
Sheetof Studies(verso)
Graphiteon paper,81/8x 85/16in.
(20.6X21.1 cm)
Bayonne,Musee Bonnat,
Inv.766
47
10.
48
A middaythunderstorm gathersin a deep-
bluesky.Thepeaksof thefarthermost moun-
tainrangearealreadycoveredwithsnow,
andsheetsof rainfallin themiddledistance.
A strongwindblowsthecypressesalongthe
riverbank. A man,woman,andchild,seek-
ingto escapethetempest,implorea pairof
/ {vArgSo{ , {/g0 {{//l/ /e )/yg/ la/// ,gb /g///zzzz
/ f/X # {/l {S}/yg t/gS {l ,X /g//b}/t filshermen in a smallbarkto carrythemto
safety;thebridgetheymighthavetakenis
brokenandimpassable. Loomingbehind
themis anancientRomantomb,andin its
shadowtwoseveredlimbshangfroma pole.
Itis thusnotsimplya stormthatfrightensthe
family,it is thespecterof death.
Trueto theestablishedconventions
of landscapepainting,Gericaultanimated
his depictionof Noonwitha thunderstorm.
Morningandafternoon hadalwaysbeenthe
timesof dayfavoredbylandscapepainters
becausetheshadowsresultingfromtheslant-
inglightwerenecessaryfortheillusionof
depth.Thestronglightof middaycreated
problemspictorially. AsDiderotnoticed,ob-
jectsatnoonarevirtually"inundated with
light"(Salons,III, p. 272) and thereforeflatin
appearance. Valenciennes, theNeoclassical
landscapepainterandtheorist,codifiedac-
ceptedpracticewhenhe wrotein an artist's
manualof 1799 that"noonis themostconve-
nienthourto representtheterriblespectacle
/z., ,.Xtz /,-)/vaSzS,zz ,/ 4,>, z/,r . //,*4,>XCr
of a stormorhurricane" (p.435).
/'/'t'''g' /i'()/zZ,* JosephVernetwasknownandpraised
forhis depictionsof ragingstormsathigh
Figuresloa, lob
noon,andit is no coincidencethatGericault
FlorentFideleConstantBourgeois tookVernet'scelebrated landscapecyclesas
(French,1?6?-l84l) hismodelfortheTimesof Day.Gericault
Viewofthe TombofPlautius,and wasfamiliarwiththegreatVernetsin the
Viewof theTombof CeciliaMetella, Louvreandwouldhaveseen,if he didnot
fromRecueildevuesetfabriques
d'Italie,1804
pittoresques
own,theetchingsafterVernet'slandscapes
Etchings,1?24x 22i8 in. madebyCarleVernet,Joseph'sson
(45.1x 56.8cm) andGericault's teacher.Gericaultmayalso
S.P.AveryCollection,TheMiriam havestudied,asJoannaSzczepinska-Tramer
andIraD. WallachDivisionof Art, suggestedin herexhaustiveanalysisof
Prints,andPhotographs, TheNew
YorkPublicLibraxy, Astor,Lenox, Noon, a paintingbyVernet's teacher,
andTildenFoundations AdrienManglard. CalledLandscapewith
49
Figure lOC
AntoineJean-BaptisteThomas
(French,1791-1834)
Ploughing
from UnAn a Romeet dansses
environs.Recueilde Dessins
Lithographies
[Paris,1824]
x 9-gA8
Lithograph,71/4 in. (18.4x 25 cm)
The MetropolitanMuseumof Art,
l 'sAi-! i Giftof HartyG. Friedman,1967,
W-\e->|@s SPo 67.519
the Capodi Bove, it displaysa Roman tomb (figs. 1oa, 1ob), takingthe fragmentof a wall
similarto that in Morning,as well as a with pilastersfromthe engravingof the tomb
comparablerelationshipof figuresto ground of Plautius and applyingit to the basic struc-
and sky to water.It hangs now, as it did in tureof the tomb of Cecilia Metella. (Gericault
Gericault'sday,in the Doria-PamphiliiGal- also must have seen Bourgeois's1817litho-
leryin Rome along with an extraordinary graphof the tomb of Plautius.)The bridge,
collectionof fine landscapesby Poussin, roughlybased on the Ponte Rottoin Rome,
Claude, GaspardDughet, and SalvatorRosa, also seems to have been adaptedfromen-
all of whom contributedto the traditionthat gravings,but a specificvisual sourcehas not
Gericaultchose to follow.Indeed, the impact yet been identifWled.
of the Doria-Pamphiliicollectionon The severedlimbs hanging on a
Gericault'sheroic landscapeswas so strong pole, easily overlookedyet unforgettableonce
that Szczepinska-Tramerwas able to intuit they have been seen, constitutethe one motif
thatthey could not have been paintedbefore in the paintingthat Gericaultpaintedfrom
the artist'sItalianvoyage.Her observation memory.It is unusual,given how little is
was substantiatedby documentationin 1980, known aboutGericault'sdaily life, thatwe
when the invoicefor the deliveryof the three have the testimonyof a fellow artist,A. J. B.
canvasesin summer 1818was discovered. Thomas,who probablywas with Gericault
Otherpictures,such as the landscapewith a when he encounteredthe sight. Thomaswon
boatingpartythen attributedto Annibale the 1816Prix de Rome that Gericaultlost,
Carracci(fWlg. 2a), had their effect as well. and they both were in Italyin 1817.They
Following the example of Vernet, seem to have accompaniedone anotheron
Gericaultassembledthe motifs forNoon fWleldtripsand sketchedside by side. In 1823
from a varietyof sources,creating,for exam- Thomas publishedan album of lithographs,
ple, new monumentsof antiquitywith a few UnAna Rome,in which he collectedpictur-
strokesof the brush.The large structureat esque incidentsof daily life that he had
the rightis a contlationof the tombs of witnessedduringhis stay.In the note to plate
Plautius,near Tivoli, and Cecilia Metella, XXXVIII (fig. 1oc), he described,"at the side of
closerto Rome, both of which Gericault a road, a pole fromwhich were hung severed
undoubtedlysaw. However,for this painting armsand legs, on which crowsfed. One
he relied not on memoryor sketchesmade frequentlyencountersthis hideous spectacle
fromnature,but on etchings publishedby in Italy,often in places far from any help
ConstantBourgeoisin an album of 1804 Banditshave committeda crimethere, and
o
Figure lod
BartolomeoPinelli
(Italian,1781-1835)
TheBrigands,1822
Etching,107/8X 75/4in.(27.7x 1g.7cm)
51
11.
LANDSCAPE
EVENING: AN
WITH
AQUEDUCT
1818
x 86^/2in.
Oil on canvas,981/!Z
(250.2 x 219.7cm)
The MetropolitanMuseumof Art,
Purchase,Gift of JamesA. Moffett,2nd,
in memoxyof GeorgeM. Moffett,by
exchange, 1989, 1989.183
2
Figure 1la
PierreFrancsois Basan
(French,1723-1 797)
afterClaudeJosephVernet
(French,1714-1 789)
TheCascatelli
Etchingandengraving,7rJ.6x 8X/2
in.
(18.2x 21.7cm)
The MetropolitanMuseumof Art,
HarrisBrisbaneDick Fund, 1953,
53.600.1547
3
hg b . i U
Figure llC
ClaudeJosephVernet
(French,1714-1789)
Bathers
Oil on panel, 28 x 27Xtin.
(71x 69.2 cm)
Stockholm,Nationalmuseum,
Inv.893
noticed,included specificmotifsborrowed
from some of Vernet'scelebratedcomposi-
tions. The aqueduct,for example, seems to
be taken fromVernet's1751view of Tivoli
(fig. 1la), which was engravedand thus read- \\ re
ily accessible,althoughVernetrepeatedvari-
ations of this aqueductin other compositions
as well. GericaultvisitedTivoli duringhis
stayin Italy(see no. 3), but he could only l
. : ,, ¢ /
/ ,/
/
;
'_;
.
..
4
Figure lle Neithera plagiarist
nora slavish wereprepared witha reddish-brown wash,
AntonioCarracci copyist,GericaultquotedfromVernetin order stillvisiblein the shadows,andthewater
(Italian,1583-1618) to underscore thenoveltyof hisownconcep- witha grayground.Onthewhole,thecanvas
TheDeluge
Oil on canvas,655/8x 9714in. tion.Thevertiginous stackof compositional is thinlypainted.Gericaultstroveformaxi-
(166x 247 cm) elements,theabnormally highhorizon- mumeffectthrougheconomicalmeans:only
Paris,Musee du Louvre suggestedbutnotvisible thewiderangeof in thehighlights ofthefWlgures, thetreeat
Inv.230 tone,andtheintensityof huerevealthe theright,andof thecliffsandbuildingsin
antinaturalist
andessentiallyManneriststyle themiddledistance- didhe indulgein im-
of Gericault's
landscapesin oppositionto the pasto,withbrilliantpassagesof spontaneous
dramatic butnature-bound visionofVernet brushwork. Allof thevegetationwaspainted
orthetimidandsometimesanemicNeoclas- impromptu, andmostoftheprofWlles were
sicalcompositions ofValenciennes. Vernet freelydrawn.Inhis fWlnishing touches,
tookliberties witharchitecture, topograph- Gericaultreemphasized thecontoursto
icalsites,andmeteorological phenomena in achievesharp,sculptural defWlnition.
A draw-
orderto givea moreconvincing impression of ingin Rouen(fWlg. 11d) mayrelateto the
reality.Gericaulthereabandoned realityin climbingbatherattheright,a paraphrase of
orderto suggestthe sublimityof nature, a fWlgurein Carracci's TheDeluge (fWlg.1l e).
whichhe interpreted as anawesome,Michel- LorenzEitnerhaskindlybroughtto myat-
angelesqueforce. tentionanotherdrawingthatis alsoin Rouen,
Gericaultappearstohaveindicated anunusualblack-chalk studyof seatedmale
thebroadmassesof thecomposition while nudesattributed to Gericaultandformerlyin
applyingthegroundto thecanvas.Thecliffs thecollectionof the artist'sfriendLehoux.
55
wlth
to
precisely
fixingoftherelationshipofthlsdrawlngto
Saint-Denis).
mostcopiedcompositionsoftheRenaissance,
adiers
and
(no. study
1814,
ancertainty.
Gericault
11).
surprised
inspiration
correspond
Napoleon
for
The
Whilebased
It
poses
aby
it for
was
painting
isthe
to
Gtvteg
the
unlikely
later
here,
removed
those
enemy. ^,
figures
artists
:an
that
in TOA
however,
from
One
jdated
the
Order
on
-Fofrom
of
Id r_wsketch-
those
a.painting,
!;
the
_to
by
do
Rubens
t;; < r
l...............................
tXFi
-;-an
Lucasvan
after not
most
-\ ,-'Figure
g>! Michelangelo
stZ ---/
Jst_N
-k
f _-D
-,
6-
,scholars
j -, v9sJ/ d l2a
, -1Leyden
&.- & JS and = >^
m
12.
STUDIES
OFBATHERS
About1818?
Browninkandgraphite011,a,esr
6lMl6x gl/sin.(17.3x 23.2cm)
TheArtInstituteof Chicago,Giftof
TiffanyandMargaret Blake,1947.35
folio44
Atfirstsight,thesemuscularnudebathers
wouldappearto be studiesforthebathersin >,_
Evening,theMetropolitan'slandscape
of 1818 14 z
andas a furtherdeterrent
to theprecise °9-:) f
bookthatEitnerdatesto1813-14butthat //f it
Christopher
Sellsdatesto 1817-18.Thesketch .
of Napoleonon horsebackattheupperleftis - - 5 ^ j= _
Officer
of theChasseurs
(Reims,Musee } ^ -£=_ 3
Gericaultwouldconceivea Napoleoniccom- li
positlonafterthe defeatatWaterlooin 1815, p _ -¢ _
thepaintingin Reimsis in facta copyaftera _- : :
workbyHoraceVernetandthuscouldhave
beenpaintedlater.Gericaultworkedin this
spirited,calligraphic
drawingstylebothbe-
foreandafterhistripto Italyin 1816-17.
Onecanthereforeentertaina dateof 1817-18
forthe sheet,bringingit closerto the
Metropolitan's landscape,butthepen
workcannotbe firmlydatedonthebasisof
stylealone. j ; ^
inMichelangelo's
designforafresco,The IjSW
Battleo+Cascina,whichshowedbathingsol- lt- > <2__ 2
to Degas,thefrescowasneverexecuted w t =; , 28q
andwasknownonlythroughprints(fig.12a). = 8 - 3
w } t 11%{ } $X J {5 EtChingX11VX6X87/8in
(3OX22
5Cm)
10if l.t';.,.g! ; ;'.t . ........ S TheMetropolitanMuseumofArt,
, jg 1 5 ,t, >>, ^ ; vg Bequest,1917,
6
13.
THEDELUGE
About1818
Oil on canvas,3814x 51lAin. (97 x 130 cm)
Paris,Musee du Louvre,Departement
des Peintures,RF 1950-40
57
notoftenquotefromPoussin'scomposition
whenpaintingtheirown.Twoof themost
significantworks,Jean-Baptiste Regnault's
paintingof 1802(fig.13b)andits offspring,
A. L. Girodetde Roussy-Trioson's A Flood
Sceneof 1806(fig.13C), conjureuphorrific,
moralizingscenesthatfocuson humande-
spairin a mannerrecallingJ. F.Fuseli's
nightmarish illustrationsengravedin 1802
forMilton'sParadiseLost.AlthoughGericault
drewa copyof Girodet'spainting,he deliber- on Poussin'scomposition. Twodrawings Figure 13a
atelyrenouncedthetheatricsof Regnault specificallyforthispaintingareknown NicolasPoussin
andGirodetfora muchsubtlerinvestigation onlythroughtracingsbyGericault's friend (French,1594-1665)
Winteror TheDeluge
of Poussin'scomposition. Aneffortto rescue AlexandreColin(Switzerland, privatecollec- Oil on canvas,46l/2 x 63 in.
lovedones women,children,the aged is tion);a thirddrawing,byGericault,is at (118X l60cm)
an anecdotecommonto allof theseflood Rouen(inv.no. 17lr).Althoughvariousau- Paris,Musee du Louvre,
scenes,butGericault,likePoussin,attempted thorshaveproposeddatesforGericault's Inv.7306
to makethelandscape,nottheanecdote, Deluge rangingfrom1810to 1822, the style
conveytheemotion."Gericault understood of thepaintingtechniquesuggeststhatit was
thesegrand,dramaticscenesof natureand executedsoonafterthe 1816-17tripto Italy.
expressedthemwithrealpower,"wrote Thefiguresin thisworkaresimilarto those
Clementin the 1860S(1879,p. 73).Thishe in theMetropolitan's landscape(no.1l),
accomplished bysubordinating the scaleof whichcannowbe surelydatedto 1818.In
thefiguresto thatof thedismalpanoramaof 1954,whenthelargelandscapes werethought
seaandsky.Bothelementsareworkedin a to dateto 1814,Eitnercorrectlyrecognized Figure 13b(left)
Jean-BaptisteRegnault
nearmonochrome ofgray-green, relieved therelationship of TheDeluge to theland- (French,1754-1829)
onlybytherose-colored underlayer thatoc- TheDeluge,1802
casionallyshowsthroughthe sky.Nowhere Oil on canvas,35l/8 x 28 in.
didGericaultuseblue,theonecolorto be (89.2X71 cm)
mostexpected. Paris,Musee du Louvre,
Inv.7380
In a drawingin the so-calledan-
tiquemannerof 1815-16 aptlydescribed
byEitneras "Flaxmandrivenmadby Figure 13C(opposite,above)
Michelangelo" Gericaultcopieda specific, Anne Louis Girodetde
Roussy-Trioson
andratherpeculiar,motiffromPoussin's (French,1767-1824)
Deluge, a manclingingto theearof a swim- A Flood Scene,1806
minghorse(fig.13d).Aboutthe sametime, Oil on canvas,174 x 13414 in.
he drewa finishedwashdrawing(Paris, (444-2 x 343-2 cm)
privatecollection)closelyrelatedto the Paris,Musee du Louvre,
Inv.4934
Poussin,whichhe musthavestudiedatthe
Louvre,buthe mayalsohavereferredto an
engravedreproduction thathe is knownto Figure 13d (opposite,below)
haveownedbecauseit wasincludedin the StlldyforTheDeluge
posthumoussaleof his studiocontents.The Graphite,wash, and ink on paper,
7l/sxlo5/l6in.(l8.lx26.2cm)
presentpictureis no morethanlooselybased Privatecollection
8
scapes:"Theresemblance is notmerelya
matterof theircommonorientation to
seventeenth-century tradition....Itis, above
all,a closestylisticsimilarity,onewhichex-
tendstothe color, to the types,the
fWlgure
sharplydrawncontoursandsculptural vol-
umes,andevento theverybrushwork. Quite
clearly,theybelongtogether,andarenot
separated bya periodof severalyears"
(1954a,p- 134)
Althoughit is notsurprising that
GericaultchosetheDelugeas a subject,it is
intriguingto considerthathe didso at a time
ofpersonaldisturbance. Hisdoomedaffair
withhis aunt,playedoutduringthetumultof
Napoleon'sHundredDaysandtheturmoil
ofthesecondBourbonRestoration, must
havecontributed to theoverwhelming sense
of disasterthatis thetruesubjectofthis
picture.Gericault madetwodrawings ofa man
holdinga drownedwomanabout1815-16,
thatis, notlongbeforehe lefthisaunttotravel
toItaly(MuseedesBeaux-Arts de Rouen,inv.
no. 147;Angers,MuseeTurpinde Crisse,
inv.no.4854).Awaitingthebirthof their
childafterhisreturnto France,he mayhave
takenupthethemeof drowningin thesup-
posedfourthpanelof theTimesof Day(p.27).
Afterthechildwasbornandsentaway,
Gericaultcreatedthegreatpoemon drown-
ing,death,despair,andhope,TheRaftof the
Medusa(seep. 9). TheDelugewasprobably
alsoexecutedaboutthistime.
Gericaultpaintedthisworkona can-
vas that he had already used.X-radiography
hasrevealed that underneath TheDeluge is a
copyGericaultmadeabout 1812-14 ofthe
fWlgureof Napoleonon horseback fromGros's
Battleof thePyramidsof 1810(Museede
Therosecolorfaintlyvisiblein
Versailles).
portionsof theskyis probably theearlier
paintingshowingthrough.
- Z
59
} @:?
14.
OFTHE
THEl:RAFT (REDUCTION)
MEDUSA
1820
(10.5 x 16.5cm)
Geneva,GalerieJan Krugier
i"J- {
60
orientationof the viewer.Most agreedthat
the palettewas too monochromeand the
paintingtoo dark.Some sensed its greatness.
The artistwas awardeda gold medal. What
the criticsdid not knowwas thatwith this
extraordinaryfusion of Rubensianfervorand
Michelangelesqueterribilita,Gericaulteffec-
tivelyoverturnedDavid'spreceptsof Neo-
classicism,which had monopolizedhistory
paintingin Francefor nearlytwo genera-
tions. The tide had alreadyturnedwhen
Stendhalwrotein his reviewof the 1824
Salon that "the school of David can only
paintbodies, it is decidedlyinept at painting
souls" (quotedin Holt 1966,p. 42). The
undisputedpreeminenceof nan overhis
environmentand of reasonoverirrationality
were underminedby Gericault'smasterpiece.
The next generationof painters,led by
Delacroix,would no longeracceptthose prin-
ciples on faith.
Figure 14a descriptionof the disasterwas publishedin The same sensibilitythat created
TheRaftof theMedusa November1817,just afterGericault'sreturn TheRaftalso createdthe cycle of large land-
Oil on canvas,1933/8x 284 in. to ParisfromItaly.The bookwas soon sold scapes.For this reasonalone it seems plausi-
(493.4 x 725 8 cm) out, and demandwas suchthatit wentthrough ble that the fourthpicture,Night,would have
Paris,Musee du Louvre,
Inv.4884 severaleditions.Correardeven set up a shop represented?disasterscene so as to resolve
called Au Naufragede la Meduse in the the ambiguityof Morning,Noon, and
arcadeof the Palais Royal,where he sold the Evening,in which man is overshadowed
book and printedotherpoliticalpamphlets. by naturebut not yet overwhelmed.
Gericaulttried depictingseveralep- This watercolor,a reductionof the
isodes of the disasterbeforesettling,in sum- Salon painting,was executedby Gericaultin
mer 1818,on the sightingof the rescue ship. preparationfor a lithographillustratingthe
Havingbegun with scenes crowdedwith fig- 1821edition of Savignyand Correard'stext.
ures, he simplifiedhis conceptionuntil he The artist'sfriendsreportedthat he became
arrivedat the solution:a pyramidalcomposi- dissatisfiedwith the compositionafterthe
tion of fifteensurvivorsstrainingtowardthe exhibitionin 1819,and in this reduction,he
minusculeship on the horizon,theirplead- broughtthe raftcloserto the foreground,
ing, outstretchedarmsinterlacedwith the raisedthe horizonline significantly,and en-
limbs of cadavers.At the 1819Salon, the largedthe rescue ship perhapsthe final
second and grandestof the Restoration, correctionof his most celebratedpainting.
it was prominentlyplaced in the Louvre's
most prestigiousgalleny,the Salon Carre
(and loweredfor bettervisibilityhalfway
throughthe exhibition).It was well or poorly
received,dependinglargelyon the political
61
15.
ANDCHILDONA
WOMAN
DROWNED
BEACH
About1822
Oil on canvas,1934x 2334in.
(S0 2 x 60.3 cm)
Brussels,MuseesRoyauxdes Beaux-Arts
de Belgique,Inv.3558
U # -- g t # - - ts wX
o. i
62
-W -- 4X80 A-e-
Figure lsa by drowningin the present painting,in a sea, with its remorselesssuccessionof waves,
Forrnerlyattributedto Gericault smallerversionin Paris (fig.1sb), which may that carriesthe emotion.
TheTempest Grunchec(1978,no. 220) has recently
be a preparatorysketch,and in The Tempest
Oil on canvas,503/4x 763/4in.
(129x 195 cm) (no. 16) suggestedthat the subjectof this paintingis
Lons-le-Saunier, On a sheet now in a privatecollec- based on a romantictale of a shipwrecked
Musee des Beaux-Arts tion (fig. 15C),Gericaultsketchedseveral pious woman of Portugal,Dona Luisa de
alternativesfor the limp figuresof mother Mello, but Eitner (1983,p. 358, n. 98) rejects
and child unnecessaryif he were copying this notion becausethe circumstancesof the
a paintingby Vernet.And in a reversalof storydiffergreatlyfromthe scene Gericault
Vernet'stypicalcompositionfor a vignette, depicts.Dona Luisa, who did not have a
Gericaultmade the figuresverysmall in child, miraculouslysurvivedher shipwreck
comparisonto the setting.The paintingis all by tyingherselfto her aged motherwith a
the more poignantfor the lack of attention rope.However,it is true, as Grunchecpointed
given to the figures,treatedas if they were out, that a minorFrenchpainter,Coupinde
flotsamcast ashore.Characteristically, it is la Couperie,exhibitedan illustrationof the
the landscape,with its jaggedrocks,and the
Figure 1sb
The Tempest
Oilon canvas,7 t/2x 97/8 in. (19 x 2 5 cm)
Paris,Musee du Louvre,
RF 784
63
as y i . i - - x X *
presentpainting. t | o-
s S ; ^
64
16.
THETEMPEST
About1822
Watercolorand graphiteon whitewove
(23.2x 21cm);inscribed
paper,g1/sx8l/4in.
on verso:Gericault/donneparM. Dedreux
d0rcy/I 832
The ArtInstituteof Chicago,Helen
RegensteinCollection,1965.13
This workseems to depictan episodefollow- the monk, are made curiousto learnwhat it
ing the shipwreckshown in the Brussels was. Here, Gericaultapproachesthe newly
painting(no. 15).The dead motherand child, emergingstyleof Romanticillustration,which
thrownupon the shore in the aftermathof was developedby artistsin his immediate
the night'sstorm,are discoveredthe next entourage,HoraceVernet,AryScheffer,and
morningby a monk, who lifts the wet sail Leon Cogniet.Vernet'slithographsof ship-
and uncoversthem. Unlike the oil painting, wreckscenes (lgS. 16a, 16b),often discussed
this watercolorhas a strongillustrativeap- in relationto this workand the Brussels
peal. Somethinghas happened,and we, like painting,are primeexamplesof the new style.
65
another fXlve were transferred to the stone >
Essentialto thestylewereLordByron's
poems,which,withtheirdramaticevents
andexoticsettings,captivated theseartists.
Hisnarratives anddescriptive passagesinflu-
encedthelookof earlyFrenchlithographs
asmuchasanyotherindividual factor.In 18
VernetwasthefilrstFrenchartistto illustrate g _
a passagefromByronwithhisprintConrad
andGulnare,basedon a passagefrom"The vi_
Corsair."AfterByron'spoemswerepublished _ i
inFrenchin 1823,Gericaultimmediately
madea lithographanda watercolor of The :;7g
Giaour,in whichthe Christiancrusaderrides
througha rockylandscapesimilarto thatof a jj
TheTempest, aswellas a suiteof seven _
illustrations
of episodesfromByronthatwere
basedon earlierEnglishillustrations.He ^t.
> .; 3 !
executedtwoof thelithographs himselfand i
bya new,youngassociate,EugeneLami, _ S
fromoilsketchesthatGericaulthadprepared. -
Historianshavelookedin Byron'swritings
fora passagethatcouldhaveinspiredThe
Tempest butnonehasbeenfound.
Figure 16a
HoraceVernet
(French,1789-1863)
Shiptreckedon theBeachof
Pourville,1822
Lithograph,6l/2 X 75/8 in.
(16.5 x 18.7cm)
The MetropolitanMuseumof Art,
The Elisha WhittelseyCollection,
The ElishaWhittelseyFund,1959,
59 5°0.419
66
-
brovo-wtwes#< - -;:*> --=f , ..........
4g> l a,--
tF
7
tt ''
sketcheda similarscene on a sheet now in
..
."#' *4 the Ecole des Beaux-Arts,Paris (Ilg. 16C).
1 - :
Whetheror not thiswatercoloris by Gericault,
,,_J.^eXd*.*X27j
Figure 16b
HoraceVernet
(French,1789-1863)
TheShipwreckofDonJuan,1823
Lithograph,8 x 63/8in.
(20.3 x 16.2cm)
Privatecollection
-
4 - +
''s - z# 6
is ) --
^wqf:F #'
s
/ O-j e -s
.w. f r
v ...
I . E
w r 8
.b*e* t//WrX\\s$zz
Figure 16C
AntoineAlphonseMontfort
:-
(French,1802-1884)
Sheetof Studies
Graphiteon paper. )
67
NOTES
68
2, 3, 1824,no. 18,as "QuatreEsquissesde Mass.,p. 16; 1951 Detroit,no. 43, repr.;1953 New
Paysages,"for F92; possiblywith BaronDesazard, York,p. 21, no. 35; 1965-67 Cambridge,Mass.,and
Paris,by 1848until at least 1850;AnyScheffer, New York,no. 41, repr.;1971-72 Los Angeles,
Argenteuil,until 1858;his studiosale, H6tel des Detroit,and Philadelphia,p. 67, no. 3o, repr.,as
Commissaires,Paris,March15, 1859,no. 28, as ca. 1815-16; 1989 San Francisco,p. 54, no. 26, as
"Paysage,au premierplan des pecheursmettenta "Landscapewith Fishermen,"1818.
l'eau une barque,"to Dornanfor E 1,150;Dornan, REFERENCES: Monganand Sachs 1940,
Paris,from 1859until at least 1867;possiblywith vol. 1, pp. 370-71, no. 692; vol. 3, fig. 363; Holme
Comtede Saint-Leon,Chateaude Jeurre,Etrechy, 1943, p. 12, pl. 98; Berger1946, p. 22, no. 1, repr.;
until 1937;possiblyto Nat Leeb, Paris,1937-49; Eitnerlgs4a, p. 135, n. 20, fig. 9; Huggler 1954,
possiblyto AlexandreUjlaky,Paris,1949;private pp. 234, 237; Huyghe and Jaccottet1956, p. 166,
collection,Burgundy,until 1959;sale, Galerie no. 20, pl. 20; Lebel 1960, p. 329, fig. 7; Eitner
Charpentier,Paris,December3, 1959,no. 52, as 1974, p. 461, no. 5 (Eitneridentifiesthis sheet as
"Paysaged'Italieau petitjour,"forF 3,800,ooo; that describedby Clement[1879, p. 328, no. 5],
JuliusWeitzner,London;to HuntingtonHartford, even thoughClementspecificallydescribesa sheet
New York,by 1960until 1968;to Wildenstein& Co., with two landscapes,not one. Clementmay have
New York,1968-78; to the Neue Pinakothek, had in mind the sheet with two landscapes,now in
Munich,in 1978. Bayonne[inv.no. 802]; or,if not, he refersto a lost
EXHIBITION: 1975New York,no. 29. drawing);Szczepinska-Tramer 1974, p. 299, n. 4;
REFERENCES: Burty18sga, p. 47; Burty Geiger,Guillaume,and Lemoine 1976, pp. 26-27,
8sgb, p. 95; Clement 1867a,p. 235; Clement underno. 37; Lemoine 1976, p. 139, underno. 117;
1867b,p. 275, no. 13, as "GrandPaysageen Zerner1978, p. 480, fig. 1; Steingraber1979, pp.
Hauteur,"1810-12;Clement 1879,pp. 72, 280, 246-47; Eitner1983, p. 143, fig. 125; p. 34o, n. 28.
no. 16;Monganand Sachs 1940,vol. 1,p. 371,
underno. 692; Eitner lgs4a, p. 131,n. 4, p. 132, 7. StudiesofFishermen,
1818
n. 6; Huggler1954,p. 234;Eitner1959,pp. ll9-20;
PROVENANCE: Earliestwhereabouts
Lebel 1960,pp. 328-35, 340-41, nn. 12-13,
unknown;possiblyin the collectionof Pierre-Jean
figs. 6, lo (detail);Eitner1963,pp. 22-23, 32-33,
David (the sculptorknownas Davidd'Angers,
nn. 5, 12, 13;del Guercio1963,p. 33;Anonymous
1788-1856), Paris;Paul ProuteS.A., Paris, 1978;
1964,no. 6, repr.;Mongan 1965,no. 41;Jullian
Hazlitt,Gooden& Fox, London,by 1979; to the
1966,pp. 897, goo-gol, 902, n. 4, vol. 2, fig. 605;
presentowner.
Berger1968,p. 37, repr.,p. 167,no. 20; Eitner
EXHIBITION: 1979 London,p. 4, no. 5, pl. 3.
1971,pp. 18, 67, underno. 30, p. 68, underno. 31,
REFERENCES: Mongan1965, underno.41;
p. 71, underno. 32; Szczepinska-Tramer 1974,
Shone 1979, p. 394; Eitner 1983, p. 34o, n. 28.
pp. 299-317; Julia1975,pp.448-49, underno. 75;
Geiger,Guillaume,and Lemoine 1976,pp. 26-27,
underno. 37; Lemoine 1976,vol. 1,pp. 139-40, 8. StudiesofFishermen,
1818
underno. 117;Grunchec1978,pp. 106-7, no. 128,
PROVENANCE: See no. 7.
fig. 128;Zerner1978,p. 480; Gruncheclg7ga,
EXHIBITION: 1979 London,p. 3, no. 4, pl. 2.
pp. 218-21, underno. 19,fig. b; Steingraber1979,
REFERENCES: Mongan1965, underno. 41;
pp. 245-48, fig. 6; D. Rosenthal1980,p. 638, n. 6;
Shone 1979, p. 394, fig. 73; Eitner 1983, p. 340, n. 28.
Toussaint1980,pp. 1o6-7, underno. 49, repr.;
Eitner1983,pp. 142-45, 340, nn 24-27 34 pl 25
in color;Brugerolles1984,p. 245, underno. 346; 9. Studies
forMorning:
Landscape
Harrison1985,underno. 3; Harrison1986, withFishermen
andEvening:
pp.37-39, underno. 19,fig. 23;Eitner1987,pp. 293, LandscapewithanAqueduct,
1818
294; Granville1987,p. 280; Hashi 1987,pp. 78-80,
underno. P-11, fig. 1;Eitnerand Nash 1989,p. 54, PROVENANCE: Earlywhereabouts
underno. 26; Schaefer1989,pp. 28-29, fig. 2. unknown;AlfredSensier,until 1877; his sale,
HotelDrouot,Paris,Decemberlo-ls, 1877, no. 432,
as Etudesde paysage(nos. 431 and 432 for F 16);
6. StudyforMoming:Landscape
with Destailleurs,Paris;Jean Dollfus, Paris,until
Fishermen,
1818 19ll; his sale, Hotel Drouot,Paris,March4, 1912,
PROVENANCE: Earlywhereabouts no. 50, as "Paysages,"to SortaisforF 105; Georges
unknown;AlfredSensier,Paris,until 1877;his Sortais,Paris, 1912 until at least 1924; Duc de
sale, Hotel Drouot,Paris,Decemberlo-ls, 1877, Trevise,Paris;PierreDubaut,Paris,by 1937 until
no. 426, as "Paysageavecrochers,"forF 155; at least 1954; M. andMme PierreGranville,Dijon,
Mathey,Paris;Duc de Trevise,Paris,by 1935until 1956; given to the Musee des Beaux-Artsde Dijon,
1938;his sale, GalerieJean Charpentier,Paris, in 1969.
May 19, 1938,no. 18, as "Pecheurstirantune EXHIBITIONS: 1924 Parisand Rouen,
barque,"forF 15,500;MauriceGobin,Paris, 1938; p. 66, no. 178, as "Paysages,"1819-21, Sortais
Paul J. Sachs,Cambridge,Mass., 1938-65; collection;1935 Paris,no. 29. as "Troispaysages,"
on loan to the Fogg ArtMuseum, 1938-65; 1816-17, privatecollection;1937 Paris,no. 93, as
bequeathedto the Fogg ArtMuseumin 1965. "Paysages,"l808-l 2, lent by P.Dubaut;1953
EXHIBITIONS:1935Paris,no. 28, as Winterthur,p. 41, no. 135, lent by Dubaut;1954
"Paysageitalien,"1816-17,Rome, lent by Duc de Paris,no. 36; 1976 Paris,pp. 26-27, no. 37, repr.
Trevise;1937Paris,no. 92, as "Pecheurstirant REFERENCES: Eitner lgs4a, p. 135,n 21;
une barque,"1808-12; 1939Brooklyn;1943 Huggler1954,pp. 234-35, fig-4, p- 237 n 5;
Cambridge,Mass.,p. 7, no. lo, as "AnItalian Lebel 1960,p. 329, fig. 8; Mongan 1965,under
Landscape";1945Boston,p. 7; 1946Cambridge, no. 41;Eitner1971,p. 67, underno. 30; Eitner1974,
69
p. 461, no. 5 (Eitneridentifies
thissheetasthat . Evening:Landscape
withan
described byClement[1879, p. 328, no.5] even Aqueduct,1818
thoughClementspecifically describesa sheetwith PROVENANCE: Possiblyoneof four
twolandscapes andnotone.Clementmayhave landscapes catalogued in theposthumous saleof
hadin mindthesheetwithtwolandscapes, nowin Gericault's studio,HotelBullion,Paris,November
Bayonne[inv.no.802]; or,if not,he refersto a lost 2, 3, 1824,no. 18,as "Quatre Esquissesde
drawing); Szczepinska-Tramer 1974, p. 299, n. 4;
Paysages," forF92;subsequent whereabouts
Lemoine1976, pp. 139-40, no. 117,repr.; unknown; possiblyattheChateaudeMontmorency,
Steingraber 1979, pp. 246-47; Eitner1983,
Montmorency, after1886,untilbefore 1903;possibly
pp- 142-43, fig- 124, p. 340, n. 28. withRenePetit-Leroy, Paris,until1903;sale,
H6telDrouot,Paris,May30, 1903,no.23,as
0. Noon:Landscape witha Roman "Paysage avecrocherset constructions," together
Tomb,1818 withno. 22to LavilleforF 1,205;possiblywith
Comtede Saint-Leon, ChateaudeJeurre,Etrechy,
PROVENANCE: Possiblyoneofthefour
landscapes catalogued in theposthumous until 1937; possiblyto Nat Leeb,Paris,1937-49;
saleof
possiblytoAlexandre Ujlaky, Paris,1949;Paul
Gericault's studio,HotelBullion,Paris,November
BrameandCesardeHauke,Paris,1952-54;to
2, 3, 1824, no. 18, as "Quatre Esquissesde
Paysages," forF 92; subsequent WalterP.Chnysler, Jr.,NewYork,1954-88;
whereabouts
onloantoTheChnysler Museum,Norfolk, Virginia,
unknown; possibly attheChateau deMontmorency,
from1971-88;hissale,Sotheby's, NewYork,
Montmorency, after1886, untilbefore1903; possibly June1,1989,no. l l o;toTheMetropolitan Museum
withRenePetit-Leroy, Paris,until1903; sale, ofArt.
H6telDrouot,Paris,May3o, 1903, no. 22, as
EXHIBITIONS: 1953Winterthur, p. 31,
"Villageaubordd'uneriviere," togetherwithno. no. 70,as "Paysaged'Italieaucoucherdusoleil,"
23 to LavilleforF 1,205; possibly withComtede 1812-15,lentbyPaulBrameandCesardeHauke;
Saint-Leon, ChateaudeJeurre,Etrechy,until 1956-57Portland, Oregon,et al.,p. 45, no. 73,
1937; possiblyto NatLeeb,Paris,1937-49; possibly fig.73,as "Landscape withanAqueduct.. .
to Alexandre Ujlaky,Paris,1949; PaulBrameand Evening," lentbyWalterP.Chnysler, Jr.;1958
Cesarde Hauke,Paris,1952-54; toWalterP. NewYork,p. 6, no.64;1960Dayton,Ohio,p. 135,
Chnysler, Jr.,NewYork,1954-70; sale,Christie's, no. 15,repr.;1965-66NewYork,no. 14;1971-72
London,June3o, 1970, no. 20, as "Paysage LosAngeles,Detroit,andPhiladelphia, p. 15,n. 1,
classique; matin";purchased bytheMuseedu pp.18,67-69, 71,178,no. 31,repr.,as 1815-16;
PetitPalais,for26,ooo gns. 1986-87Raleigh,NorthCarolina, andBirmingham,
EXHIBITIONS: 1953 Winterthur, p. 31,
no. 71, as "Paysaged'Italiepartempsorageux," Alabama, p. 37,no. 19,repr.
REFERENCES: Clement1867a,p. 235;
812-15, lentbyPaulBrameandCesardeHauke;
Clement1867b,p. 275,underno. 13, as 1810-12;
1956-57 Portland, Oregon,et al.,p.45, no. 72, fig. Clement1879,pp.72, 280,underno. 16;Eitner
72; 1958 NewYork, p. 6, no.63; 1960 Dayton, gs4a,pp.131-42,fig.2, as 1814-16;Huggler
Ohio,p. 135, no. 14, repr.;1971-72 LosAngeles, 1954,pp 234,237,figs.2, 3 (detail); Aime-
Detroit,andPhiladelphia, p. 15, n. 1,pp.18, 67-68, Azam1956,p. 126,as spring1816;Eitner1959,
7o-71, 178, no. 32, repr.,as 1815-16; 1974-75
pp.ll9-21; Lebel1960,pp.328-35, 340,nn.8,
Paris,Detroit,andNewYork,pp.448-49, no. 75, 9, p. 341,nn.16,22, 24,fig.2, as 1812-16;
repr.;1979-80 Rome,pp.218-21, no. 19,repr.in Eitner1963,pp.22-23, 32-33, nn.5, 12,13;
color;1980-81 SydneyandMelbourne, pp.106-7, delGuercio1963,pp.33-34, 142,fig.27,as 1815;
no.49, repr.;1987-88 Kamakura, Kyoto,and Jullian1966,pp.897,goo-gol, 902,n. 4; Berger
Fukuoka,pp.78-80, no.P-ll, repr. 1968,p. 167,underno.20;Aime-Azam 1970,
REFERENCES: Clement1867a,p. 235; pp.152,375;Eitner1974,p. 448,underno.16;
Clement1867b,p. 275, underno.13, as 1810-12; Szczepinska-Tramer 1974,pp.299-300,303,306-7,
Clement1879, pp. 72, 280, underno. 16; Eitner 310-1l,313,asafter1817;Julia1975,pp.448-49,
gs4a, pp. 131-42, fig. 1, as 1814-16; Huggler
underno. 75;Geiger,Guillaume, andLemoine
1954, pp. 234, 237, fig. 1;Aime-Azam 1956,
1976,pp.26-27,underno.37;Lemoine1976,
p. 126, as spring1816; Eitner1959, pp. ll9-21;
p. 139,underno. 117;Grunchec1978,pp.106-7,
Lebel1960, pp. 328-35, 34o, nn.8, 9, p. 341, no. 129,fig.129,pl.XXVI in color;Gruncheclg7ga,
nn. 16, 22, 24, fig. 1, as 1810-12?; Eitner1963, pp.218-21,fig.A,asafter1817;Steingraber 1979,
pp. 22-23, 32-33, nn.5, 12, 13; delGuercio
pp.246-47;D. Rosenthal1980,p. 638,n. 6;
1963, pp. 33-34, 142, fig. 26; Jullian1966, vol. 1,
Toussaint 1980,pp.106-7,underno.49. repr.;
pp. 897, goo-gol, go2, n. 4; Aime-Azam 1970,
Eitner1983,pp.142-45,340,nn.24-27, 34,
pp. 152, 375; Eitner1974, p. 448, underno. 16;
fig.120,as 1818;Brugerolles 1984,p. 245,under
Szczepinska-Tramer 1974, pp. 2gg-3oo, 3o3,
no. 346;Harrison1985,no. 3, repr.;Eitner1987,
306-8, 310-13, as after1817; Geiger,Guillaume,
pp.293-94;Granville1987,p. 280;Hashi1987,
andLemoine1976, pp. 26-27, underno. 37; p. 80,repr.;Schaefer1989,pp.28-29, repr.in
Lemoine1976, pp. 139-40, underno.116;Grunchec color.
1978, pp. 106-7, no. 130, fig. 130, pl. XXVII in
color;Zerner1978, p. 480; Steingraber 1979,
pp. 246-47; D. Rosenthal 1980, p. 638, n. 6;
Eitner1983, pp. 142-45, 340, nn 24-27 31 34,
12. StudiesofBathers,about 1818?
pl. 26 in color,as 1818;Mosby1983,p. 84; PROVENANCE: See no.l.
1987,p. 280; Eitnerand Nash 1989,p. 54, under REFERENCES: Eitner lgs4a, p. 135,
nn. 17,
7o
Grunchec1976,p.406,no. 53,p.419,n. 115; 5. DrownedWoman andChildona
Gruncheclg7gb, pp. 43-44,57,nn. 88,89; Beach,about1822
Matteson1980, p.78,n. 20;Szczepinska-Tramer PROVENANCE: Probablynot the work
1982,p.140;Eitner 1983,pp.46,328,n. 15;Sells includedas no. 25of the artist'sposthumous
1989,pp.341-57;Bazin 1989,pp.45,171, inventony,as "vuede mer";probablynot the work
no. 788,repr. includedin the artist'sposthumoussale, Hotel de
Bullion,Paris,November2,3, 1824,no. 19,as
l 3. TheDeluge,about1817-18 "Etudede paysagerepresentantune vue des bords
de la mer parun tempsorageux,"for F86;possibly
PROVENANCE: PossiblyJuliende la
ArnedeeConstantin,Paris,until 1830; his sale,
Rochenoire,Paris,in 1858; possiblyhis sale, Paris,
52rue Saint-Lazare,Paris,February15,1830,
March22,1858,no. 64,as "Scenedu deluge, lere
no. lgo, as "Une femme, avec son enfantest jetee,
pensee du tableau,"to GarreauforF 27(however,
a la suite d'unetempete,parune fortevague surle
this is morelikelythe drawingin a privatecollection
rivageet contreun rocher";sale, Hotel Drouot,
[Bazin1989,no. 983]); A. de Girardin,Paris,by
Paris,March1l, 1892,no. 3o,as "La Tempete";
1867;sale, H6tel Drouot,Paris,March22,1869, possiblyDelestre,Paris;Eugene Clarembaux,
no. 26,as "Scenedu Deluge," to ErnestGarielfor
Brussels,until lgol; to the Musees Royauxdes
F lo,ooo; ErnestGariel,Paris;to his daughter,
Beaux-Artsde Belgique,Brussels,from lgol.
Mme StephanePiot, by 1924until at least 1937;
to her son, AndrePiot, until his sale to the Musee
EXHIBITIONS: 1826Parisas by Dedreux-
Dorcyand Gericault,lent by Constantin(per
du Louvre,Paris, 1950.
EXHIBITIONS: 1924Parisand Rouen, Grunchec1978,p.122;and Eitner1983, p.358,
n. 91);1924Parisand Rouen,p. 66,no. 176,as
p.58,no. 137,as "Scenedu Deluge," 1818-lg, "L'Epaveou la Tempete";1936Paris,p. 107,
lent by Mme StephanePiot; 1937Paris,no. 56,as
no. 735;1952London,p. 23,no. 21,as "TheWreck,
"Scenedu Deluge," 181 7-lg, lent by Mme or The Storm,"1812-16 (notexhibitedaccording
StephanePiot; 1966Paris,no. 32;1967Paris,
no. 358;1968-69 Moscowand Leningrad,no. 56,
to Eitner1974); 1953Winterthur,p. 38,no. 112;
repr.;1971-72 Los Angeles,Detroit,and
1962-63Charleroi,no. 2;1963Rouen,no. 2;
Philadelphia,p. 66,no. 29,repr.;1975Paris;1976
1971-72Los Angeles,Detroit,and Philadelphia,
Hamburg,pp. 208,213,no. 164,repr.;1984Mareq-
p.162,no. 117,repr.;1979-80Rome,pp. 249-52,
no. 35,repr.;1987-88Kamakura,Kyoto,and
en-Baroeuland Dieppe,no. 20,repr.
Fukuoka,pp. 118-20, no. P-32,repr.
REFERENCES: Clement 1867b,p. 290,
REFERENCES: Clement1867b,p. 281,
no. 127,as "Scenedu Deluge,"Mme la Vicomtesse
no. 63,as "Scenede Naufrage";Clement 1879,
de Girardin;Clement1879, pp.72-73,30g-lo, p.72,as "Scenede Naufrage,"p. 293,no. 67,as
no. 133,as "Scenedu Deluge," 1818-20, Mme la
"LaTempete";Fierens-Gevaertand Laes 1922,
Vicomtessede Girardincollection;Courthion1947,
p.34,n. 1 (repr.fromBatissier1824or 1842), p.172,no. 286;L. Rosenthal1924,p.54;Regamey
p.161;Eitnerlg54a, p. 134,n- 14,pp 135-37,139, 1926,p.49;Oprescu1927,pp.158-59;Courthion
140,fig.6;Eitner1960,pp.1l,35;Lebel 1960, 1947,p.160;Eitnerlgs4a, p. 134,n. 12;Eitner
pp.333,335,figs.3,4 (detail);Eitner1963, 1955,p.288,n. 28;Eitner1959,p.120;Eitner
pp.22-23,as 1815-16; Jullian1966, vol.1,p.897, 1967,pp.7-17,fig.3;Joannides1973,p.667,
as pre-Italy;Granville1968, pp.139-46,figs.1,3 n. 1l; Eitner1974,p.451,no. 67;Szczepinska-
(x-ray),as post-Italy;Eitner1974, p.455,no. 133; Tramer1974, pp.316-17;Grunchec1976,pp.399,
Szczepinska-Tramer 1974,pp.3oo,311,313; 411,nn. 2,3;Berger1978,p.88,as "Wreckage";
Grunchec1978,pp.105-6,no. 123,repr.,as
Grunchec1978, pp.121-23,no. 221,fig.221,pl.LIV
in color;Gruncheclg7gb, pp. 52-54,fig.so,p.58,
1817-20; Verdi1981, p.397,n. 75,fig.4;Eitner nn- 153-57; Eitner1983, pp.256-59,357,nn. 85,
1983,pp.96-97,344,n. 137,pl.17in color,as 88,go,p.358,nn. 91, 92,93,98,fig.210.
1812-15; Grunchec1985, p.47,underno. 9,
fig. ga; Bazin1989, pp.78,229,no. 934,repr.
6. about1822
TheTempest,
PROVENANCE: PossiblyP.J. Dedreux-
14. TheRaftoftheMedusa(reduction), Dorcy,Paris,by 1832; Vicomtede Fossez, Paris;
1820
Ambroselli,Paris;S. Kleinbergerand Co. Inc.,
PROVENANCE: PossiblyGericaults gift to New York,by 1964; NathanChaikin;to The Art
AlexandreCorreard,Paris,by 1820; Leclerefils, Instituteof Chicago.
Paris,by 1867; M. Rouher,Paris;to his daughter, 1971-72Los Angeles,
EXHIBITIONS:
MarquiseSamuelVellesde la Valette,Paris;to her Detroit,and Philadelphia,p. 161,no. 116,repr.;
familyby descent;sale, SothebyParkeBernet& 1976Paris,no. 37,repr.
Co., London,March3o,1977, no. 108,for£ 21,000. REFERENCES: Eitner1967,pp.7-17,
EXHIBITIONS: 1989San Francisco,p. 60, fig. 1;Joachim1974, pp.132-33,no. 65,repr.;
no. 41,repr.in color;lggo-gl New Yorkand Szczepinska-Tramer 1974,p.313,n. 5,p.315,
Geneva,pp. 92-93,no. 52,repr. fig. g; Grunchec1978,p.122,no. 221(3), fig.221(3)
REFERENCES: Clement 1867C, p.368, (attributedto Dedreux-Dorcy);Gruncheclg7gb,
no. l26-b, as "Reproductiondu tableau,"Leclere pp.52-54,58,nn. 162,163,fig.54(attributedto
filscollection;Clement1879, pp.357-58,no. 13g-b, Dedreux-Dorcy);Eitner 1983, p.257,n. 94.
as "Reproduction du tableau,"Leclerefilscollection;
Eitner1972,p. 152,no. 28; Barran1977,p. 311,
fig. 124.
71
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Oprescu,G. Gericault.Paris:La Renaissance du Livre,1927.
Pace, ClaireK. "'StrongContraries . . . HappyDiscord':SomeEighteenth-CentuIy Discussionsabout
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de Piles,Roger.Coursde peinturepar principes.Paris:JacquesEstienne,1708.
Regamey,Raymond.Gericault.Paris:F.Riederet Cie., 1926.
Rosen,Charles,andHenriZerner.Romanticismand Realism.NewYork:VikingPress,1984.
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74
LISTOFEXHIBITIONS
1907Berlin.Gericault.Berlin,GalerieFritzGurlitt,1907.PerDubaut1956.
gog Munich.Empireund Romantik.Munich,GalerieZimmermann, lgog. PerDubaut1956.
Rouen.Millenairenormand.19ll. PerDubaut1956.
1912 St.Petersburg. L'Expositioncentennale:FrenchPainting,I8I2-I9I2. St.Petersburg, Franscais,
L'Institut
. PerDubaut1956.
ParisandRouen.Expositiond'oeurresde Gericault.Paris,HotelJeanCharpentier, April24-May16,
; Rouen,MuseedesBeaux-Arts.
Basel.Dessinsfrancais. 1935.PerDubaut1956.
Paris.Dessinsaquarelles&gouachespar Gericault,I79I-I824. Paris,MauriceGobin,December5-21,
935.
6 Paris.Gros:Ses amis, ses eleves.Paris,PetitPalais,1936.
Paris.Exposition
Gericault: peintreetdessinateur(I7gI-I824).Paris,MM.Bernheim-Jeune, Maylo-2g,
937.
Brooklyn.XIX CenturyFrenchDrawingsfrom the Collectionof Paul J. Sachs. Brooklyn: Brooklyn
Museum,1939.No cataloguepublished.
Cambridge, Mass.FrenchRomanticismof the Eighteen Thirties.Cambridge, Mass.,FoggArtMu-
seum,Harvard University,January16-February 12, 1943.
Boston.A ThousandYearsof LandscapeEastand West:Paintings,Drawings,Prints.Boston,Museumof
FineArts,October24-December9, 1945.
6 Cambridge, Mass.Betweenthe Empires:Gericault,Delacroix,Chasseriau Paintersof the Romantic
Movement.Cambridge, Mass.,FoggArtMuseum,HarvardUniversity, April30-June1, 1946.
Detroit.FrenchDrawingsof Five Centuriesfrom the Collectionof the Fogg Museumof Art, Harvard
University.Detroit,The DetroitInstituteof Arts,Mayls-September30, 1951.
London.TheodoreGericault,I79I-I824. London,Marlborough FineArtsLimited,October-November
952.
NewYork.LandscapeDrawings& Water-Colors: Bruegelto Cezanne.NewYork,ThePierpont Morgan
Library, January31-April1l, 1953.
Winterthur. TheodoreGericault,I79I-I824. Winterthur: Kunstmuseum Winterthur, August30-
November8, 1953.
Paris.Gros,Gericault,Delacroix.Paris,GalerieBernheim-Jeune, openedJanuary9, 1954.
6-57 Portland,Oregon,et al. Paintingsfrom the Collectionof WalterP Chrysler,Jr.Portland: Portland
ArtMuseum,1956.A travelingexhibition,also shownat SeattleArtMuseum;San Francisco,
California Palaceof the Legionof Honor;LosAngelesCountyMuseum;Minneapolis Institute
of Arts;CityArtMuseumof St. Louis;KansasCity,WilliamRockhillNelsonGalleryof Art;
TheDetroitInstituteof Arts;andBoston,Museumof FineArts;March2, lg^6-April14,1957.
8 NewYork.Paintingsfrom PrivateCollections:SummerLoan Exhibition,I958. NewYork,TheMetro-
politanMuseumof Art,summer1958.
descollectionssuisses.Paris,PetitPalais,March-May
Paris.De Gericaulta Matisse:Chefs-d'oeurrefranSais
1959.
1960Dayton,Ohio.FrenchPaintings,I78g-Ig2gfromthe CollectionofWalterP.Chrysler,Jr.Dayton,Ohio,
The DaytonArtInstitute,March25-May22, 1960.
62-63 Charleroi.Gericault:Un Realiste romantique.Charleroi,Palaisdes Beaux-Arts, December8,
62-January6, 1963.
63 Rouen.Gericault:UnRealisteromantique.Rouen,MuseedesBeaux-Arts, Januarylg-March11,1963.
65-66 NewYork.FrenchLandscapePaintersfrom Four Centuries.NewYork,FinchCollegeMuseumof
Art,October20, 1g65-Januaxy 9, 1966.
65-67Cambridge, Mass.,andNewYork.MemorialExhibition:Worksof Artfromthe Collectionof Paul J.
Sachs (I878-I965), Given and Bequeathedto the Fogg Art Museum,HarvardUniversity,Cam-
bridge,Massachusetts.Cambridge, Mass.,FoggArtMuseum,November15, 1g65-Januaxy 15,
66; NewYork,Museumof ModernArt,December19, 1g66-Februaxy 26, 1967.
1966Paris.Delacroixet lespaysagistesromantiques.Paris,MuseeEugeneDelacroix, Maylg-July19,1966.
1967-68 Paris.Vingtans d'acquisitiondu Musee du Lourre, I947-I967. Paris,Orangeriedes Tuileries,
December16,1g67-March1968.
68-69 MoscowandLeningrad. Le Romantisme Expositiondesoeurresappartenant
dansla peinturefrancaise:
aux museesde France.Moscow,PushkinMuseum,Decemberlg68-Januaty1969;Leningrad,
TheHermitage, throughApril1969.
-72 LosAngeles,Detroit,andPhiladelphia. Gericault.LosAngelesCountyMuseumof Art,October
75
Opposite:Detailof thebillforthe
threecanvasesfortheTimesof Day
deliveredto Gericault's
studioon
Julylo, August4, andAugust18
(seep. 18)
76
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